practiced in one of the walls, a cabinet containing a series of short tons, arranged side by side on tiny sites sandalwood, silver taps drilled in the lower abdomen. He called the meeting to liquor barrels, his mouth organ. A rod could reach all the taps, to enslave a single movement, so that once the device in place, it was enough to touch a button hidden in the woodwork, so that all the taps, touring together, meet the imperceptible liqueur cups placed below them. The organ was then opened. The drawers labeled "flute, horn, celestial voice" were drawn, ready to maneuver. Of Esseintes drank a drop, here, here, was playing indoor symphonies, came to get, in the throat, sensation similar to that music makes the ear. Moreover, each liquor corresponded, according to him, like taste, the sound of an instrument. The dry curacao, for example, the clarinet whose song is tart and velvety; kummel the oboe, whose timbre snuffle, mint and anisette, flute, at once sweet and peppery, yelling and fresh, while, to complete the orchestra, the Kirsch sounded the trumpet furiously, gin and whiskey outweigh the palate with their strident bursts of pistons and trombones, eau-de-vie de marc with fulminating the deafening din of tubas, while the rolling thunder of the cymbal and fund hit with a vengeance in the skin of the mouth, by Rakis of Chios and the mastics! He also believed that assimilation could reach, that quartets of string instruments could operate in the palate, with the violin representing the old water-spirits, and fine smoky, sharp and frail with viola simulated by the rum more robust, snoring, duller, with the harrowing and prolonged vespétro, melancholy and caressing like a cello with bass, full-bodied, strong and black as a pure bitter and old. It could even, if we wanted to form a quintet, add a fifth instrument, the harp, by imitating a probable analogy, vibrant flavor, note Argentine detached and hail cumin dry. The similarity is extended again: relationships existed in all shades of music liquors, so to name a note, the Benedictine figure, so to speak, the minor of this major tone alcohols that partitions Business refer to it as a sign of chartreuse green. These principles once admitted, he had succeeded, thanks to scholarly experience, to play on the language of silent melodies, mute funeral marches to big show, to hear in his mouth, mint solos, duets vespétro and rum. It even happened to transfer to his jaw real music, as the composer, step by step, making his thought, his effects, his nuances, by unions or contrasts of liquors neighbors, by scholars and rough mixes. Other times, he himself composed melodies, executed pastorals with Benin currant rolls him in the throat of a nightingale singing beaded, with cocoa-soft humming of syrupy chouva pastoral scenes such as "romance of Estelle" and "Ah! Twinkle Twinkle Little Star "of yore.
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