ABSTRACT

Leonard Cohen’s Hallelujah is above all a poem, and that is to say that in all its verses and variants, it is one poem, it is one song.1 And if Cohen’s poem makes the song of praise, his song, reflecting on the song itself, the secret chord, other poets likewise invoke music, and in this chapter we shall see that even philosophy is included among the arts, all of which, according to Pater, “aspire” to the condition of music.