Very much appreciate your insight into ardor as a degree of sensibility, and especially romanticism. Your comment brings up the question for me of whether the difficulty with Marianne at this point is less her romanticism and more a too-zealous nurturing of its ardent quality. Is she confusing her perception of ardor (or its lack of it), in herself and others, with romanticism and sensibility? But then, where does one draw the line, and how, given, as you point out, that ardor is so central to the romantic mindset? It seems to me that reason, or something akin to it, is the faculty that could and would do this, but, how does the romantic temperament interface with something so seemingly disparate from itself?