But even if they could go home it would be difficult for me to tell you what the moral of the story is. In some stories, it's easy. The moral of 'The Three Bears', for instance, is "Never break into someone else's house". The moral of 'Snow White' is "Never eat apples". The moral of World War One is "Never assassinate Archduke Ferdinand.
I might be asked, 'Do you equally reject the approach which begins with the question 'What do modern children need?' - in other words, with the moral or didactic approach?' I think the answer is Yes. Not because I don't like stories to have a moral: certainly not because I think children dislike a moral. Rather because I feel sure that the question 'What do modern children need?' will not lead you to a good moral. If we ask that question we are assuming too superior an attitude. It would be better to ask 'What moral do I need?' for I think we can be sure that what does not concern us deeply will not deeply interest our readers, whatever their age. But it is better not to ask the question at all. Let the pictures tell you their own moral. For the moral inherent in them will rise from whatever spiritual roots you have succeeded in striking during the whole course of your life. But if they don't show you any moral, don't put one in.
I will tell you, too, that every fairy tale has a moral. The moral of my story may be that love is a constraint, as strong as any belt. And this is certainly true, which makes it a good moral. Or it may be that we are all constrained in some way, either in our bodies, or in our hearts or minds, an Empress as well as the woman who does her laundry... Perhaps it is that a shoemaker's daughter can bear restraint less easily than an aristocrat, that what he can bear for three years she can endure only for three days... Or perhaps my moral is that our desire for freedom is stronger than love or pity. That is a wicked moral, or so the Church has taught us. But I do not know which moral is the correct one. And that is also the way of a fairy tale.
For some stories, it's easy. The moral of 'The Three Bears, ' for instance, is "Never break into someone else's house.' The moral of 'Snow White' is 'Never eat apples.' The moral of World War I is 'Never assassinate Archduke Ferdinand.
In some stories, it's easy. The moral of "The Three Bears, " for instance, is "Never break into someone else's house." The moral of "Snow White" is "Never eat apples." The moral of World War One is "Never assassinate Archduke Ferdinand.
We can't have moral obligations to every single person in this world. We have moral obligations to those who we come up against, who enter into our moral space, so to speak. That means neighbors, people we deal with, and so on.
Yes, this is an age of moral crisis. Yes, you are bearing punishment for your evil. But it is not man who is now on trial and it is not human nature that will take the blame. It is your moral code that's through, this time. Your moral code has reached its climax, the blind alley at the end of its course. And if you wish to go on living, what you now need is not to return to morality-you who have never known any-but to discover it.
The argument that personal moral views should not be imposed on others when it comes to lawmaking is incoherent and misleading. It is incoherent because a great deal of law implicitly "imposes" a particular moral view on the wider society. It would be disingenuous to pretend that the legalization of abortion on demand or euthanasia does not impose a certain moral view on the rest of society. This is especially true when arguments for abortion and euthanasia are based on rights. The appeal to rights is a moral argument, and it is this appeal to moral authority that gives force to laws enshrining rights.
The first principle of value that we need to rediscover is this: that all reality hinges on moral foundations. In other words, that this is a moral universe, and that there are moral laws of the universe just as abiding as the physical laws. (from "Rediscovering Lost Values")
Moral obligations verses Legal obligations. Legally, you must abide by the laws of the land or face the consequences of being fined, imprisoned or both. Moral obligations tend to lean more towards a spiritual nature of a person. Some people perform immoral acts because legally there are no consequences. Morals birth in the heart of the individual. Moral characteristics are developed at an early age and continue into adulthood. It's a disgrace to neglect having good moral character.
individuals are concerned not with the moral issue of realizing these standards, but with the amoral issue of engineering a convincing impression that these standards are being realized. Our activity, then, is largely concerned with moral matters, but as performers we do not have a moral concern in these moral matters. As performers we are merchants of morality. Our day is given over to intimate contact with the goods we display and our minds are filled with intimate understandings of them; but it may well be that the more attention we give to these goods, th e more d is ta n t we feel from them and from those who are believing enough to buy them. To use a different imagery, the very obligation and profitablility of appearing always in a steady moral light, of being a socialized character, forces us to be the sort of person who is practiced in the ways of the stage.
Is it really love to tell someone that if it came down to picking between them and every other life on the planet, you'd pick them? Is that - I don't know, is that a moral sort of love at all?' 'Love isn't moral or immoral, ' said Clary. 'It just is.' 'I know, ' Simon said. 'But the actions we take in the name of love, those are moral or immoral.