Working through an official system of academies, as well as through a more informal institution known as the Little Academy (Petite Académie), Louis XIV’s finance minister Jean-Baptiste Colbert controlled a wide-ranging propaganda of absolutism or, in the language of the time, a memorialising of the monarch’s gloire. This chapter investigates the strategy and mechanisms by which Colbert and his collaborators deployed the arts as an instrument of the state. It explores the ways in which Molière’s comedies and comedy-ballets developed out of an established system of courtly propaganda in the court ballet of the 1650s and 1660s, and examines changes instituted by Colbert in the 1660s. Finally, it examines Molière’s ambivalent response to the absolutist enterprise as expressed through these changes.