Molière’s comedy-ballets and the tragedy-ballet Psyché, many written in haste, form a heterogenous whole, but we must not forget the habitual presence of music in theatre of the time. Molière, himself an amateur musician, gave himself a number of roles involving singing, and music – that attribute of a cultivated, city-based society – is discussed in his plays, often ironically. Comedy-ballet – inspired musically by the court ballet – was a princely spectacle performed in the royal residences, and Molière benefitted from exceptional financial, technical and musical resources. He may have been given a free choice regarding their subjects, but he relied heavily on instrumentalists and dancers from the royal institutions, many of whom had participated in the great ballets of previous years, and his comedy-ballets gained from their qualities. Comedy-ballet was, therefore, devised in view of the effects desired and the means at his disposal. Most were organised around scenes or characters taken by Molière and Lully from a topical repertoire and composed according to a variety of writing conventions. Certain scenes were suggested to Molière by Lully, and some comedy-ballets were entirely devised around musical scenes in the same way as was the case for ballets.