The romantics, on the other hand, replaced judgment and grace with imagination and originality: “The power of acting creatively under laws of its own origination,” in the words of Coleridge. Notice that, genuine romantic that she is at heart, Sand backtracks when Chopin himself protests against the suggestion that he’s just monkeying the sound of the rain. She says, “His genius was full of mysterious harmonies of nature, translated by sublime equivalents into his musical thought, and not by a servile repetition of external sounds.” Both writer and composer agree it is Chopin’s wild reverie (or hallucination) that actually birthed the composition he was playing. Chopin was not just tinkling around to the sound of the rain; he had been seized by the sublime.
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