Sentiment Quotes

He dug so deeply into her sentiments that in search of interest he found love, because by trying to make her love him he ended up falling in love with her. Petra Cotes, for her part, loved him more and more as she felt his love increasing, and that was how in the ripeness of autumn she began to believe once more in the youthful superstition that poverty was the servitude of love. Both looked back then on the wild revelry, the gaudy wealth, and the unbridled fornication as an annoyance and they lamented that it had cost them so much of their lives to find the paradise of shared solitude. Madly in love after so many years of sterile complicity, they enjoyed the miracle of living each other as much at the table as in bed, and they grew to be so happy that even when they were two worn-out people they kept on blooming like little children and playing together like dogs.

Irony and cynicism were just what the U.S. hypocrisy of the fifties and sixties called for. That’s what made the early postmodernists great artists. The great thing about irony is that it splits things apart, gets up above them so we can see the flaws and hypocrisies and duplicates. The virtuous always triumph? Ward Cleaver is the prototypical fifties father? "Sure." Sarcasm, parody, absurdism and irony are great ways to strip off stuff’s mask and show the unpleasant reality behind it. The problem is that once the rules of art are debunked, and once the unpleasant realities the irony diagnoses are revealed and diagnosed, "then" what do we do? Irony’s useful for debunking illusions, but most of the illusion-debunking in the U.S. has now been done and redone. Once everybody knows that equality of opportunity is bunk and Mike Brady’s bunk and Just Say No is bunk, now what do we do? All we seem to want to do is keep ridiculing the stuff. Postmodern irony and cynicism’s become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what’s wrong, because they’ll look sentimental and naive to all the weary ironists. Irony’s gone from liberating to enslaving. There’s some great essay somewhere that has a line about irony being the song of the prisoner who’s come to love his cage.

Herb Kelleher, founder of Southwest Airlines, echoed this sentiment when he said, “You don’t have the time, techniques, or enough drugs to change attitudes.”48

The reason that marriage is so painful and yet wonderful is because it is a reflection of the gospel, which is painful and wonderful at once. The gospel is this: We are more sinful and flawed in ourselves than we ever dared believe, yet at the very same time we are more loved and accepted in Jesus Christ than we ever dared hope. This is the only kind of relationship that will really transform us. Love without truth is sentimentality; it supports and affirms us but keeps us in denial about our flaws. Truth without love is harshness; it gives us information but in such a way that we cannot really hear it. God’s saving love in Christ, however, is marked by both radical truthfulness about who we are and yet also radical, unconditional commitment to us. The merciful commitment strengthens us to see the truth about ourselves and repent. The conviction and repentance moves us to cling to and rest in God’s mercy and grace.

Liberals speak as if they believe in government and then pass policy after policy hamstringing what it can actually do. Conservatives talk as if they want a small state but support a national security and surveillance apparatus of terrifying scope and power. Both sides are attached to a rhetoric of government that is routinely betrayed by their actions. The big government–small government divide is often more a matter of sentiment than substance.

If just or justified violence is enacted by states, and if unjustifiable violence is enacted by non-state actors or actors opposed to existing states, then we have a way of explaining why we react to certain forms of violence with horror and to other forms with a sense of acceptance, possibly even with righteousness and triumphalism. The affective responses seem to be primary, in need of no explanation, prior to the work of understanding and interpretation. We are, as it were, against interpretation in those moments in which we react with moral horror in the face of violence. But as long as we remain against interpretation in such moments, we will not be able to give an account of why the affect of horror is differentially experienced. We will then not only proceed on the basis of this unreason, but will take it as the sign of our commendable native moral sentiment, perhaps even of our “fundamental humanity.

Prior to the age of irony, she thought, kitsch was already established. ‘It was low art’s idea of high art,’ she said – the aesthetic of people with no taste. Its keynote was sentimentality, not simply in conception but in use. Trash, for her, was another thing altogether, and it was with trash she found herself at home.

They would get nothing but the unmistakable conscience of having done what they ought to do in spite of fear - something which wicked people have often debased by calling it glory with too much sentiment, but which is glory all the same. This idea was in the hearts of the young men who knelt before the God-distributing bishops - knowing that the odds were three to one, and that their own warm bodies might be cold at sunset.

– Dans un certain état toute trace de sentiment est chassée. Je ne vous aime pas quand je me tais d’une certaine façon. Vous avez remarqué ? – J’ai remarqué. Elle s’étire, elle rit. – Et puis je recommence à respirer, dit-elle.

– Dans un certain état toute trace de sentiment est chassée. Je ne vous aime pas quand je me tais d’une certaine façon. Vous avez remarqué ? – J’ai remarqué. Elle s’étire, elle rit. – Et puis je recommence à respirer, dit-elle.

– Dans un certain état toute trace de sentiment est chassée. Je ne vous aime pas quand je me tais d’une certaine façon. Vous avez remarqué ? – J’ai remarqué. Elle s’étire, elle rit. – Et puis je recommence à respirer, dit-elle.

– Dans un certain état toute trace de sentiment est chassée. Je ne vous aime pas quand je me tais d’une certaine façon. Vous avez remarqué ? – J’ai remarqué. Elle s’étire, elle rit. – Et puis je recommence à respirer, dit-elle.

He would tell his mistresses: the only relationship that can make both partners happy is one in which sentimentality has no place and neither partner makes any claim on the life and freedom of the other.

Elizabeth knew she loved him. It was impossible for her to pretend any other sentiment. The sense of relief that she had felt upon hearing that he was not engaged to Miss de Bourgh was such as to make it impossible for her to lie to herself.