‘I want a word with you, my lad. ” “You are willing to give up your position, your beautiful houses, your carriages and milliner’s accounts to come back to Bohemianism?” “Why not?” Annabel declared. Immediately he grasped the fact that there was drama here, probably the old drama of the fugitive. And like that gospel it meant something, something different from its phrases, something elusive, and yet something that in spite of the superficial incoherence of its phrasing, was largely essentially true.
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