In Brussels, spectacles in Flemish and spectacles in French or Italian hide a social and cultural division between nobles and bourgeois. This division should not however be exaggerated: Flemish bourgeois went to La Monnaie, and French-speaking nobles attended Flemish spectacles. One of the most original aspects is doubtless the interpretation of both cultures: the Brussels bourgeosie was pleased to receive comedy, be it Molière or set to music by Gréty. The subjects of these were bourgeoise whereas tragedy remained more attached to the great figures of the world. The favourable reception given by the Brussels public to bourgeoise drama shows that this point is more important and that it goes beyond what could be only an inborn tendency on the part of that public for comedy. Inversely, French literature was enriched with original works which, in the very midst of classicism, preserved the dramatic heritage of the Middle Ages and Renaissance.