and then, behind him, M. de Palancy, who with his huge carp's head and goggling eyes moved slowly up and down the stream of festive gatherings, unlocking his great mandibles at every moment as though in search of his orientation, had the air of carrying about upon his person only an accidental and perhaps purely symbolical fragment of the glass wall of his aquarium, a part intended to suggest the whole which recalled to Swann, a fervent admirer of Giotto's Vices and Virtues at Padua, that Injustice by whose side a leafy bough evokes the idea of the forests that enshroud his secret lair.
de Palancy-k, bere monokuloari atxikirik, bere begi biribildun karpa-buru handiarekin, festen erdian geldiro higitzen ari, unetik unera bere ahutzak zabaltzen ari norabide bila bailebilen, bazirudien aldean zeramàn hura bere aquariumeko beira osoaren zati bat besterik ez zela, zati ausazkoa eta agian soilki sinbolikoa, osoaren adierazle zèn parte bat, nolanahi ere, Swanni berehala-Giottoren Paduako Bizioen eta Bertuteen miresle handia izaki-gogora ekarri ziona hango Bidegabea, zeinaren aldamenean aldaxka hostotsu batek haren gordelekua ostentzen den oihana iradokitzen baitu.