In his well-known Le Coq et l’Arlequin (1918), Cocteau is the leader of Satie and the other young musicians that fostered Satie’s model. More than twenty aphorisms are directed brutally against Debussy’s music, because Cocteau wishes to see a French music avoided of characteristics that belonged to impressionist music. In the aftermath, his writings evoked Debussy a couple of time, precisely in twenty varied articles. Until 1940, Cocteau justified the positions that he developed against Debussy when he was young: he tried to legitimate himself with the explanation that his position was an attitude of young rebellions against their elders. After that step, Cocteau will be more nuanced in front of Debussy; he will no more justified himself as long as he claimed his admiration for Debussy and his chef d’oeuvre, Pelléas et Mélisande—he conceived the decors and costumes for the production of the opera that took place in the Théâtre municipal de Metz in 1962.