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A critic can call any poem 'doggerel.' That is no more than a slur. 'Doggerel' or 'maudlin' or 'sappy' or 'sentimental' is in the ear of the listener. By the by, 'sentimental' is okay as it is defined as 'marked or governed by feeling, sensibility, or emotional idealism.' It is 'sentimentality' that is to be avoided, like the fiddleback spider, being as it is 'the quality or state of being sentimental to excess or in affectation.' Again we are faced with a judgement call and must keep a sharp eye on our outpourings to insure they are not overly gooey.The intellectual elite probably believe that most of the lyrics songwriters create are 'doggerel' of one kind or another--that is to say 'trivial"......the young songwriter has now been warned about the implacable nature of the enemy. Under a rather large umbrella, preferred twentieth-century taste in art of all kinds has been characterized by a kind of detachment, or sangfroid. It is simply not chic to be carried away in one's emotional reaction to a subject. All serious communication or complaint must be carefully wrapped in a protective coating of irony and/or satire.
Jimmy Webb Tunesmith: Inside the Art of Songwriting
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A critic can call any poem 'doggerel.' That is no more than a slur. 'Doggerel' or 'maudlin' or 'sappy' or 'sentimental' is in the ear of the listener. By the by, 'sentimental' is okay as it is defined as 'marked or governed by feeling, sensibility, or emotional idealism.' It is 'sentimentality' that is to be avoided, like the fiddleback spider, being as it is 'the quality or state of being sentimental to excess or in affectation.' Again we are faced with a judgement call and must keep a sharp eye on our outpourings to insure they are not overly gooey.The intellectual elite probably believe that most of the lyrics songwriters create are 'doggerel' of one kind or another--that is to say 'trivial"......the young songwriter has now been warned about the implacable nature of the enemy. Under a rather large umbrella, preferred twentieth-century taste in art of all kinds has been characterized by a kind of detachment, or sangfroid. It is simply not chic to be carried away in one's emotional reaction to a subject. All serious communication or complaint must be carefully wrapped in a protective coating of irony and/or satire.

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The critical spirit rises up against itself and consumes its form. But instead of coming out of this process greater and purified, it devours itself in a kind of self-cannibalism and takes a morose pleasure in annihilating itself. Hyper-criticism eventuates in self-hatred, leaving behind it only ruins. A new dogma of demolition is born out of the rejection of dogmas. Thus we euro-americans are supposed to have only one obligation: endlessly atoning for what we have inflicted on other parts of humanity. How can we fail to see that this leads us to live off self-denunciation while taking a strange pride in being the worst? Self-denigration is all too clearly a form of indirect self-glorification. Evil can come only from us; other people are motivated by sympathy, good will, candor. This is the paternalism of the guilty conscience: seeing ourselves as the kings of infamy is still a way of staying on the crest of history.

PB
Pascal Bruckner

The Tyranny of Guilt: An Essay on Western Masochism