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This article examines a comic, intoxicated, and densely allusive chapter in which the Rennes-les-Bains myth is presented as circus, conjuring act, puppet-show, and funerary riddle. At first glance, the text appears to be a chaotic burlesque of Rennes mythology: Dagobert, the Priory of Sion, Pompeius Quartus, Roc Nègre, the Devil’s Armchair, the shepherdess, the zero meridian, Nostradamus, Delmas, and a lost pagan temple all thrown together in a drunken dialogue. Yet beneath this theatrical disorder lies a precise commentary on how the Rennes myth was constructed.