Sublime néoclassique et sublime rhétorique La réception musicale des Odes et mélodies spirituelles (1757) de Christian Fürchtegott Gellert

This article formalises a distinction between notions of development on the one side and ornament or interpretation on the other which sheds light on the strain of neoclassical poetics of the sublime inherited by Gellert. It enables us to understand why Doles and Carl Philipp Emanuel Bach could adopt such different approaches to the presentation of the sublime religious subjects of Gellert’s poetry.