Treason's Harbour by Patrick O’Brian Page B

remarkably low-cut. He disapproved of it. Many men were strongly moved by a pretty bosom, partly bare - Jack Aubrey had been bowled over many a time - and he thought it cruelly unfair in a woman to excite desires that she had no intention of satisfying. He disapproved of the punch, too: it was far, far too strong. And when he bit into the red paste it made him gasp again. Beneath all the fire there was a taste not unfamiliar but unnamable within some minutes' recollection, and that was impossible, seeing that in common decency he was obliged to congratulate Mrs Fielding on her brew, assure her that the fiery things were ambrosia, eating another to prove it, and to exchange civilities with the other guests. And it seemed to him that the atmosphere of the party was not what it usually was, which saddened him: there was not the same easy gaiety, conceivably because Laura Fielding was trying too hard - she seemed to be on edge - and conceivably because at least some of the men were minding her person more than their music.
    But when Jack Aubrey came up to him and said 'There you are, Stephen. There you are at last. How did your diving go?' his cheerfulness returned with the recollection of that glorious afternoon and he said 'Upon my soul, Jack, it is the bell of the world! As soon as his launch brought it alongside the Edinburgh, Captain Dundas, that worthy, deserving man, called down did I choose to make a descent directly, because if so he was my man: he would be' - lowering his voice '- damned if he let me go down alone; and...'
    'Dear Doctor, am I interrupting you?' asked Laura Fielding, handing him his score.
    'Not at all, at all, ma'am,' said Stephen. 'I was only telling Captain Aubrey about my diving-bell, my new diving-bell.'
    'Oh yes, yes! Your diving-bell,' she said. 'How I long to hear about it. Let us hurry through our music and you will tell me about it in peace. Pearls, mermaiden, sirens..."
    Their piece was a Contarini 'cello sonata with no more than a figured bass and hitherto Laura Fielding had always played her part beautifully; harmony came to her as naturally as breathing, and the music flowed from her like water from a spring. But this time they had hardly travelled ten bars together before she produced a chord so false that Stephen winced, Jack, Muratori and Colonel O'Hara raised their eyebrows and pursed their lips, and an aged Commendatore said 'Tut, tut, tut,' quite loud.
    After the first trip she concentrated hard- Stephen could see her pretty head bent over the keyboard, her grave, concentrated expression, her lower lip caught between her teeth - but studious application did not suit her style at all and she played indifferently until the end of the movement, sometimes throwing him off balance, sometimes sounding a most unfortunate note. 'I am so sorry,' she said. 'I will try to do better now.'
    Alas for the word. The adagio called for subtle phrasing, and it called in vain: she cast him several apologetic looks until a particularly wild aberration made him pause, his bow in the air, when she laid her hands in her lap and said 'Shall we go back to the beginning?' 'By all means,' said Stephen. But it was not a successful experiment: between them they slowly murdered poor Contarini, Maturin now playing as badly as his partner, and when his A string broke with a solemn twang two thirds of the way through the adagio there was a general feeling of relief.
    After this Colonel O'Hara played some modern pieces on the pianoforte with great fire and dash; but the evening never really recovered from the blow.
    'Mrs Fielding is not in spirits,' observed Stephen, standing by the lemon-tree with Jack Aubrey. 'Not in real spirits, that is to say,' he added, since she could be seen talking and laughing at a great rate.
    'No,' said Jack. 'She is grieving about her husband, no doubt. She mentioned him earlier in the day.' He was looking at her through the leaves with great good will and commiseration: he always esteemed