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Goopes had a great set-to about the sincerity of Chesterton and Belloc that was ended by Goopes showing signs of resuming the Socratic method. Over the mantel, set into an ornately carved panel with fluted columns at each end, was a portrait of a man on horseback. He was not in love with her en désespoir which, he said, was necessary if a man would marry without getting a dowry from his wife. She had expected a love story; and love was totally absent.
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