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Quote by Lawrence Nault

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Lawrence Nault

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“Very often, those who express concern about (or even interest in) the conditions in which farmed animals are raised are disregarded as sentimentalists. But it’s worth taking a step back to ask who is the sentimentalist and who is the realist. […] Two friends are ordering lunch. One says, “I’m in the mood for a burger,” and orders it. The other says “I’m in the mood for a burger,” but remembers that there are things more important to him than what he is the mood for at any given moment, and orders something else. Who is the sentimentalist?”

VeganismSentimentalismSentimentalistVegetarinism
Author:Jonathon Safran Foer
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“We must distinguish between "sentimental" and "sensitive." A sentimentalist may be a perfect brute in his free time. A sensitive person is never a cruel person. Sentimental Rousseau, who could weep over a progressive idea, distributed his many natural children through various poorhouses and workhouses and never gave a hoot for them. A sentimental old maid may pamper her parrot and poison her niece. The sentimental politician may remember Mother's Day and ruthlessly destroy a rival. Stalin loved babies. Lenin sobbed at the opera, especially at the Traviata. A whole century of authors praised the simple life of the poor, and so on. Remember that when we speak of sentimentalists, among them Richardson, Rousseau, Dostoevski, we mean the non-artistic exaggeration of familiar emotions meant to provoke automatically traditional compassion in the reader.”

Sentimentalism
Book:Lectures on Russian Literature
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“A writer observes. A writer records for posterity. The moments in the transience of the labyrinth of time that would go unrecorded otherwise! A writer records for value. A writer records for sentimentalism. A writer tries in earnest to carry the emotions and sentiments that make us what we ultimately are. For what are we? Empty spaces in an atom!”

WritingWriterAtomsWriting ProcessWriters And WritingWriting PhilosophyWriting InspirationSentimentalismWhy I WriteEmpty Spaces
Author:Avijeet Das
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“It is not without good reason that the literary tradition of pastoral poetry can look back on an almost uninterrupted history of over two thousand years since its beginnings in Hellenism. With the exception of the early Middle Ages, when urban and court culture was extinguished, there have been variants of this poetry in every century. Apart from the thematic material of the novel of chivalry, there is probably no other subject-matter 15 that has occupied the literature of Western Europe for so long and maintained itself against the assaults of rationalism with such tenacity. This long and uninterrupted reign shows that ‘sentimental’ poetry, in Schiller’s sense of the word, plays an incomparably greater part in the history of literature than ‘naïve’ poetry. Even the idylls of Theocritus himself owe their existence not, as might be imagined, to genuine roots in nature and a direct relationship to the life of the common people, but to a reflective feeling for nature and a romantic conception of the common folk, that is, to sentiments which have their origin in a yearning for the remote, the strange and the exotic. The peasant and the shepherd are not enthusiastic about their surroundings or about their daily work. And interest in the life of the simple folk is, as we know, to be sought neither in spatial nor social proximity to the peasantry; it does not arise in the folk itself but in the higher classes, and not in the country but in the big towns and at the courts, in the midst of bustling life and an over-civilized, surfeited society. Even when Theocritus was writing his idylls, the pastoral theme and situation were certainly no longer a novelty; it will already have occurred in the poetry of the primitive pastoral peoples, but doubtless without the note of sentimentality and complacency, and probably also without attempting to describe the outward conditions of the shepherd’s life realistically. Pastoral scenes, although without the lyrical touch of the Idylls, were to be found before Theocritus, at any rate, in the mime. They are a matter of course in the satyr plays, and rural scenes are not unknown even to tragedy. But pastoral scenes and pictures of country life are not enough to produce bucolic poetry; the preconditions for this are, above all, the latent conflict of town and country and the feeling of discomfort with civilization.”

RealityCivilizationSentimentalismPastoral
Book:The Social History of Art Volume 3: Rococo, Classicism and Romanticism
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