Respected as one of four ‘feuilles de qualité’ in nineteenth-century France, the Journal des débats politiques et littéraires published articles by some of the most talented writers/critics of its time. In ‘feuilletons’, large articles that ran across the bottom of the first and second pages, these authors gave perceptive critiques in high-quality prose and provided their readers with relief from the political news discussed on the page above. In January 1858 literary critic Hippolyte Rigault asserted that modern criticism communicated not just through forthright judgements but also through innuendo and nuance. A sophisticated readership could then be expected to take up the task of understanding the allusions and filling in the blanks. Like Rigault, Hector Berlioz (music critic of the Débats from 1835 to 1863) and Ernest Reyer (from 1866 to 1898) used both text and subtext to convey their assessments. This study, with the goal of examining how shades of approval and disapproval could be alluded to or directly revealed, traces how they wrote about their younger contemporary Georges Bizet in the years following Rigault's article.

被尊为 19 世纪法国的四大“品质”之一，《政治与文学》杂志发表了当时一些最有才华的作家/评论家的文章。在第一页和第二页底部的大型文章“feuilletons”中，这些作者对高质量的散文进行了敏锐的批评，并让他们的读者从上一页讨论的政治新闻中解脱出来。1858 年 1 月，文学评论家 Hippolyte Rigault 断言，现代批评不仅通过直率的判断进行交流，还通过影射和细微差别进行交流。然后可以期望一个成熟的读者承担理解典故和填补空白的任务。和 Rigault 一样，Hector Berlioz（Débats的音乐评论家）从 1835 年到 1863 年）和欧内斯特·雷耶（从 1866 年到 1898 年）使用文本和潜台词来传达他们的评估。这项研究的目的是研究如何暗示或直接揭示赞成和反对的阴影，追溯了他们在里戈的文章之后的几年里是如何写下他们年轻的当代乔治·比才的。