The composition of Chansons de Bilitis by French composers in the first decades of 20th century implied a direct confrontation with Debussy’s cycle, published in 1899. Concert reviews of the 1920s-1930s—when the canonization of Debussy was at its high—offer interesting material for studying the discourse about the composers who created their own Chansons de Bilitis. Reviews often cite Debussy’s cycle—which was performed constantly—as a reference. Composers could not write their own Bilitis without considering Debussy’s. Therefore, the study of the new Chansons brings up relevant questions about the composers’ attitude towards Debussy’s work: Are more recent Bilitis an explicit homage to Debussy? Are they influenced by the master’s work in a more implicit way? Or do they definitely take a distance from their illustrious predecessor? Two authors in particular are the object of the present comparative study: Charles Koechlin and Georges Dandelot. This analysis focuses on their text choice, dramaturgy and compositional technique. ’s mélodies are very far from Debussy’s imagined Greece, while Dandelot toggles between the imitation of Debussy style and the decontextualized appropriation of some of its distinctive features. The comparison between the Chansons de Bilitis by Debussy and by other composers is relevant about the compositional reception of Debussy. Moreover, some stylistic and aesthetic specificities of Debussy’s cycle emerge from the comparative analysis.