de Sévigné, described as “of a magnificence to make you die of hunger.”) And the Marquise formed the habit of coming every day, until her own meal was ready, to sit down for a moment at our table in the dining-room, insisting that we should not rise from our chairs or in any way put ourselves out. At the most we would linger, as often as not, in the room after finishing our luncheon, to talk to her, at that sordid moment when the knives are left littering the tablecloth among crumpled napkins. For my own part, so as to preserve (in order that I might be able to enjoy Balbec) the idea that I was on the uttermost promontory of the earth, I compelled myself to look farther afield, to notice only the sea, to seek in it the effects described by Baudelaire and to let my gaze fall upon our table only on days when there was set on it some gigantic fish, some marine monster, which unlike the knives and forks was contemporary with the primitive epochs in which the Ocean first began to teem with life, in the Cimmerians’ time, a fish whose body with its numberless vertebrae, its blue veins and red, had been constructed by nature, but according to an architectural plan, like a polychrome cathedral of the deep.