In L’Argent and L’Argent suite (1913), Charles Péguy characterises the chronicle from the angle of its relationship with madness (“folie”): in it, the need to produce a counter-history of madmen is intensified by a discourse on madness as a driving force of history, as well as a desire to make a spectacle of madness. Thus, the madness of Péguy’s writings must be considered in light of the political function that he assigns to literature, particularly in his battle against power-driven modern theatre. From the reference to madness arises the possibility of reinventing nodes of knowledge and power, an urgent matter at a time when Péguy deemed universities to be more interested in government than education, and of restoring a “right of war” to people as a counterweight to the joint oppression exerted by the bourgeoisie and Germany.