One of the first comic works of Debussy’s is Pierrot (1882), a melody consisting of the unceasing repetition of the popular song which is always associated to this commedia dell’arte character: “Au clair de la lune.” Like many artists of his time, Debussy seems to have yielded to the temptation of clothing himself with Pierrot’s costume—which is suggested by the poem written by Banville that he set to music, which underlines this identitary ambiguity. Pierrot is also the victim of a love triangle with Colombine and Harlequin—the female character always choosing the latter. Since Debussy dedicated this melody to Marie-Blanche Vasnier, his first muse, a maried woman he had fallen in love with, he found in the words of the poem some other elements in common with Pierrot. The music confirms this self-portrait hypothesis, since Debussy gave the leading role to the note B (in French, si), matching with the last syllable of his name (-ssy). Therefore, behind a seemingly light-hearted work, the artist hid his suffering for love.