concealed in the woodwork to turn on all the taps at the same time and
fill the mugs placed underneath.

The organ was now open. The stops labelled flute, horn, celestial
voice, were pulled out, ready to be placed. Des Esseintes sipped here
and there, enjoying the inner symphonies, succeeded in procuring
sensations in his throat analogous to those which music gives to the
ear.

Moreover, each liquor corresponded, according to his thinking, to the
sound of some instrument. Dry curacoa, for example, to the clarinet
whose tone is sourish and velvety; _kummel_ to the oboe whose sonorous
notes snuffle; mint and anisette to the flute, at once sugary and
peppery, puling and sweet; while, to complete the orchestra,
_kirschwasser_ has the furious ring of the trumpet; gin and whiskey
burn the palate with their strident crashings of trombones and
cornets; brandy storms with the deafening hubbub of tubas; while the
thunder-claps of the cymbals and the furiously beaten drum roll in the
mouth by means of the _rakis de Chio_.

He also thought that the comparison could be continued, that quartets
of string instruments could play under the palate, with the violin
simulated by old brandy, fumous and fine, piercing and frail; the
tenor violin by rum, louder and more sonorous; the cello by the
lacerating and lingering ratafia, melancholy and caressing; with the
double-bass, full-bodied, solid and dark as the old bitters. If one
wished to form a quintet, one could even add a fifth instrument with
the vibrant taste, the silvery detached and shrill note of dry cumin
imitating the harp.