osition, illustration, and repetition,' which
that admirable method allowed and enforced--but he permitted
himself a much greater liberty than his predecessors had
done in the relationship of the keys of the different
movements, and parts of movements, and in the proportion of
the clauses and sections with which he built them up. In
other words, he was less bound by the forms and musical
rules, and more swayed by the thought which he had to
express, and the directions which that thought took in his
mind."

[Sidenote: _Schumann and Chopin._]

It is scarcely to be wondered at that when men like Schumann and
Chopin felt the full force of the new evangel which Beethoven had
preached, they proceeded to carry the formal side of poetic
expression, its vehicle, into regions unthought of before their time.
The few old forms had now to give way to a large variety. In their
work they proceeded from points that were far apart--Schumann's was
literary, Chopin's political. In one respect the lists of their pieces
which appear most frequently on recital programmes seem to hark back
to the suites of two centuries ago--they are sets of short
compositions grouped, either by the composer (as is the case with
Schumann) or by the performer (as is the case with Chopin in the hands
of Mr. Paderewski). Such fantastic musical miniatures as Schumann's
"Carnaval" and "Papillons" are eminently characteristic of the
composer's intellectual and emotional nature, which in his university
days had fallen under the spell of literary romanticism.

[Sidenote: _Jean Paul's influence._]

[Sidenote: _Schumann's inspirations._]

While ostensibly studying jurisprudence at Heidelberg, Schumann
devoted seven hours a day to the pianoforte and several to Jean Paul.
It was this writer who moulded not only Schumann's literary style in
his early years, but also gave the bent which his creative activity in
music took at the outset. To say little, but vaguely hint at much, was
the rule which he adopted; to remain sententious in expression, but
give the freest and most daring flight to his imagination, and spurn
the conventional limitations set by rule and custom, his ambition.
Such fanciful and symbolical titles as "Flower, Fruit, and Thorn
Pieces," "Titan," etc., which Jean Paul adopted for his singular
mixtures of tale, rhapsody, philosophy, and satire, were bound to find
an imitator in so ardent an apostle as young