The comparison was further prolonged. Tone relationships existed in
the music of liquors; to cite but one note, benedictine represents, so
to speak, the minor key of that major key of alcohols which are
designated in commercial scores, under the name of green Chartreuse.

These principles once admitted, he succeeded, after numerous
experiments, in enjoying silent melodies on his tongue, mute funeral
marches, in hearing, in his mouth, solos of mint, duos of ratafia and
rum.

He was even able to transfer to his palate real pieces of music,
following the composer step by step, rendering his thought, his
effects, his nuances, by combinations or contrasts of liquors, by
approximative and skilled mixtures.

At other times, he himself composed melodies, executed pastorals with
mild black-currant which evoked, in his throat, the trillings of
nightingales; with the tender chouva cocoa which sang saccharine songs
like "The romance of Estelle" and the "Ah! Shall I tell you, mama," of
past days.

But on this evening Des Esseintes was not inclined to listen to this
music. He confined himself to sounding one note on the keyboard of his
organ, by swallowing a little glass of genuine Irish whiskey.

He sank into his easy chair and slowly inhaled this fermented juice of
oats and barley: a pronounced taste of creosote was in his mouth.

Gradually, as he drank, his thought followed the now revived
sensitiveness of his palate, fitted its progress to the flavor of the