Power without love is reckless and abusive, and love without power is sentimental and anemic.
I don't want my poems to be sentimental, though I do acknowledge that sentiment is probably rather under-reported in a lot of people's feelings a lot of the time.
I knew that the principle objective of my film was to be a sentimental or an emotional study. What I did was kind of like subterfuge.
I guess it's a little bit sentimental, but at the time I was really very focused in on really my performance. Afterward, it was really just a breath of fresh air, just like, 'Oh, yes, I'm back now. I'm doing good. '
[Sherlock Holmes] has to understand the world. That's very much John's [Watson] influence on him. But like a lot of the friendships and relationships in that world, it's born out of necessity. It makes him better. There's a pragmatism to it. It's not whimsical or sentimental. It's born out of necessity.
I am not a sentimental person.
I like grit, I like love and death, I'm tired of irony. . . . A lot of good fiction is sentimental. . . . The novelist who refuses sentiment refuses the full spectrum of human behavior, and then he just dries up. . . . I would rather give full vent to all human loves and disappointments, and take a chance on being corny, than die a smartass.
But reason always cuts a poor figure beside sentiment; the one being essentially restricted, like everything that is positive, while the other is infinite.
The pleasures of intimacy in friendship depend far more on external circumstances than people of a sentimental turn of mind are willing to concede; and when constant companionship ceases to suit the convenience of both parties, the chances are that it will be dropped on the first favourable opportunity.
Experience proves that none is so cruel as the disillusioned sentimentalist.
Good writing must stay open to the questions and not fall prey to the pull of a polemic, otherwise, words simply become predictable, sentimental, and stale.
I'm not a sentimental guy.
Sade has a curious ability to render every aspect of sexuality suspect, so that we see how the chaste kiss of the sentimental lover differs only in degree from the vampirish love-bite that draws blood, we understand that a disinterested caress is only quantitatively different from a disinterested flogging.
Smell is a strange sight. It evokes sentimental landscapes through a sudden sketching of the subconscious.
We agree that language functions in a certain way so that we can understand each other; but within that are built all sorts of sentimental codes, codes of authenticity, codes of certain kinds of emotion.
Poetry does not consist of words alone; there must be sentiment and fancy, combination and arrangement.
Sentimentality is the only sentiment that rubs you the wrong way.
I'm not terribly sentimental.
I know that for every reader who has lost the habit or can't find the time, there are people who've never enjoyed reading and question the value of literature, either as entertainment or education, or believe that a love of books, and of fiction in particular, is sentimental or frivolous.
. . . let the emotional weight of a scene rest on the dialogue wherever possible. This is the easy way to avoid overinterpretation, which seems to be what turns a scene from sympathetic to sentimental.