Abstract
The article focuses on four works by Claude Debussy: the romance “Clair de Lune” (lyrics by Paul Verlaine), the piano piece of the same name from “Suite Bergamasque”, as well as piano works “Et la lune descend sur le temple qui fut” from Set 2 of “Images” and “La terrasse des audiences du clair de lune” from “Preludes”. Created at different periods, they all embody the image of moonlight. The comparison of the peculiarities of expressive means in these works has allowed revealing the shared leitmotif of the augmented second (minor third), which is a symbol of moonlight. However, despite this, every Debussy’s address to this image is unique, as it is unique in nature. This circumstance is consonant with Impressionism aesthetics, when artists refer repeatedly to the same image object and find unlike features.
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