Although the Romantic movement accepted the thesis that instrumental music has representational capacities, most did not support Schopenhauer's linking of music and metaphysics. The mainstream consensus endorsed music's capacity to represent particular emotions and situations. In 1832, composer Robert Schumann stated that his piano work Papillons was "intended as a musical representation" of the final scene of a novel by Jean Paul, "Flegeljahre". The thesis that the value of music is related to its representational function was vigorously countered by the formalism of Eduard Hanslick, setting off the "War of the Romantics."