Top 1200 Moral Of The Story Quotes & Sayings - Page 2

I think we've broken story after story that the rest of the media refused to break even when they had the story because they were scared of the story, or they just didn't think it was appropriate.

God doesn't help. I think that's a knockdown argument. I think that it really shows that whatever moral knowledge we have and whatever moral progress we make in our knowledge or whatever progress we make in our moral knowledge is not coming really from religion. It's coming from the very hard work really of moral philosophy, of trying to ground our moral reasonings.

I often feel that with a crime story, the moral standards have to be higher. You're deal with real victims and with real consequences.

Human beings have rights, because they are moral beings: the rights of all men grow out of their moral nature; and as all men havethe same moral nature, they have essentially the same rights. These rights may be wrested from the slave, but they cannot be alienated: his title to himself is as perfect now, as is that of Lyman Beecher: it is stamped on his moral being, and is, like it, imperishable.

If an instrument similar to a geiger-counter could be invented that counted moral judgements instead, we would learn to duck as people became increasingly 'moral', since lethal force is usually imminent. So far from moral fervour being an alternative to force, it is frequently the overture, the accompaniment and the memorial to it.

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.

Why is it immoral for you to desire, but moral for others to do so? Why is it immoral to produce a value and keep it, but moral to give it away? And if it is not moral for you to keep a value, why is it moral for others to accept it? If you are selfless and virtuous when you give it, are they not selfish and vicious when they take it?

True literature is more than just a story someone has told. It must provide the reader with the essence of the world on a moral, philosophical and emotional level.

By God's design, I believe our hearts and minds are shaped by Story. It's how we learn. It's how we make sense of the world. Characters, situations, moral consequences are all around us.

Political realism is aware of the moral significance of political action. It is also aware of the ineluctable tension between the moral command and the requirements of successful political action. And it is unwilling to gloss over and obliterate that tension and thus to obfuscate both the moral and the political issue by making it appear as though the stark facts of politics were morally more satisfying than they actually are, and the moral law less exacting than it actually is.

So when it comes down to it, a calorie is a calorie is a calorie: There is only one moral of the story: burn as many damn calories as possible whenever you work out.

And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.

The moral duty of man consists of imitating the moral goodness and beneficence of God, manifested in the creation towards all his creatures. Everything of persecution and revenge between man and man, and everything of cruelty to animals is a violation of moral duty

The humorous story is American, the comic story is English, the witty story is French. The humorous story depends for its effect upon the manner of the telling;the comic and the witty story upon the matter.

I love to read things that have moral messages, and I love to hear stories where it's not just a hook, you have to follow the story, you have to listen to the message of the song, and get it and use it in your everyday life.

But you're the hardest thing I've ever done, and you're also the best. So... I think that's the moral of the story here. Anything worth having is worth fighting for.

I felt like Alan Turing's story was such an important story to tell, and it was so wonderful to write the script and other people find it and say, 'I never heard this story.' It's such an amazing story that people don't believe it.

The thing is that my father's story helps to communicate what was at stake with my mother, and my mother and father had so much a partnership that his story is integral to her story, as her story is to his - really, her story can't be told without his story.

On devient moral de' s qu'on est malheureux. We become moral once we are miserable.

It's all a question of story. We are in trouble just now because we do not have a good story. We are in between stories. The old story, the account of how we fit into it, is no longer effective. Yet we have not learned the new story.

There's always a story. It's all stories, really. The sun coming up every day is a story. Everything's got a story in it. Change the story, change the world.

[nonviolence] seeks to secure moral ends through moral means.

I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.

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.

The Bible tells a story. A story that isn’t over. A story that is still being told. A story that we have a part to play in.

An e-mail from a reader says that liberals like to take the moral high ground, even though their own moral relativism means that there is no moral high ground.

Each of us is our own story, but none of us is only our own story. The arc of my own personal story is inexplicably and intrinsically linked to the story of my parents and the story of my neighbor and the story of the kid that I met one time. All of us are linked in ways that we don't always see. We are never simply ourselves.

The idea of telling a story in reverse destabilises your ordinary moral reactions. That's one of the points of art - to challenge your preconceptions.

The moral man is necessarily narrow in that he knows no other enemy than the 'immoral' man. 'He who is not moral is immoral!' and accordingly reprobate, despicable, etc. Therefore, the moral man can never comprehend the egoist.

States are not moral agents, people are, and can impose moral standards on powerful institutions.

[Altruism] is a moral system which holds that man has no right to exist for his own sake, that service to others is the sole justification of his existence, and that self-sacrifice is his highest moral duty, value and virtue. This is the moral base of collectivism, of all dictatorships.

That is the moral of this story, kids. No matter how many people try to stomp on your happiness, you have the power to do whatever you want with your life.

Literature is an aspect of story and story is all that exists to make sense of reality. War is a story. Now you begin to see how powerful story is because it informs our worldview and our every action, our every justification is a story. So how can story not be truly transformative? I've seen it happen in real ways, not in sentimental ways or in the jargon of New Age liberal ideology.

If you have a moral law then you must have a moral law giver. You don’t get a moral law unless there’s a moral law giver.

Moral virtues and intellectual virtues are very different from each other, and moral virtue has to do with motivation, not cognition. Moral virtue requires a human level of intelligence, but it doesn't require that one be an intelligent human.

Science is fundamentally a moral enterprise, following the moral imperative to seek the truth.

I think we are trying to run the space age with horse and buggy moral and spiritual equipment. Technology you see has no morals; and with no moral restraints man will destroy himself ecologically, militarily, or in some other way. Only God can give a person moral restraints and spiritual strength.

The more moral you pretend to be, the less moral you are; the less moral you try to be, the more moral you are.

The moral of the story is we're here on Earth to fart around. And, of course, the computers will do us out of that. And, what the computer people don't realize, or they don't care, is we're dancing animals. You know, we love to move around.

So tell me, since it makes no factual difference to you and you can't prove the question either way, which story do you prefer? Which is the better story, the story with animals or the story without animals?' Mr. Okamoto: 'That's an interesting question?' Mr. Chiba: 'The story with animals.' Mr. Okamoto: 'Yes. The story with animals is the better story.' Pi Patel: 'Thank you. And so it goes with God.

Being a moral realist I see normative ethics as a search of the truth about our obligations and a search of explanation; the idea is that moral principles can help us to a moral explanation of our particular obligations.

I know there is a moral to this story, but I don't know what it is.

I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.

'The Master and Margarita' is deeply to do with the unconscious. It is a story about a man who writes a story in a time when he's not supposed to write that story: the story of Pontius Pilate.

The Work always leaves you with less of a story. Who would you be without your story? You never know until you inquire. There is no story that is you or that leads to you. Every story leads away from you. Turn it around; undo it. You are what exists before all stories. You are what remains when the story is understood.

The moral of the story is this: sometimes, to do nothing, to do nothing at all, is the sorriest thing ever.

Only that type of story deserves to be called moral that shows us that one has the power within oneself to act, out of the conviction that there is something better, even against one's own inclination.

The foundation of leadership is your own moral compass. I think the best quality leaders really know where their moral compass is. They get it out when they are making decisions. It's their guide. But not only do you have to have a moral compass and take it out of your pocket, it has to have a true north.

I'm not saying that atheists can't act morally or have moral knowledge. But when I ascribe virtue to an atheist, it's as a theist who sees the atheist as conforming to objective moral values. The atheist, by contrast, has no such basis for morality. And yet all moral judgments require a basis for morality, some standard of right and wrong.

The moral man is necessarily narrow in that he knows no other enemy than the immoral man. He who is not moral is immoral! and accordingly reprobate, despicable, etc. Therefore, the moral man can never comprehend the egoist.

Scandal is great entertainment because it allows people to feel contempt, a moral emotion that gives feelings of moral superiority while asking nothing in return. With contempt you don't need to right the wrong (as with anger) or flee the scene (as with fear or disgust). And the best of all, contempt is made to share. Stories about the moral failings of others are among the most common kinds of gossip, they are a stable of talk radio, and they offer a ready way for people to show that they share a common moral orientation.

A lot of 'Blackheart' was me, literally in a dark room, confessing my sins; Poe was the influence for that album. But that melancholy has a hopefulness - in every Poe story, there is always a moral at the end.

Fantasy allows you bend the world and the situation to more clearly focus on the moral aspects of what's happening. In fantasy you can distill life down to the essence of your story.

'Moral police' is my new word. I am very against the media doing moral policing, giving opinions on actor's lives. Media should not become moral police; they should just report.

I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off.

Man has no moral instinct. He is not born with moral sense. You were not born with it, I was not - and a puppy has none. We acquire moral sense, when we do, through training, experience, and hard sweat of the mind.

There can be, therefore, no true education without moral culture, and no true moral culture without Christianity. The very power of the teacher in the school-room is either moral or it is a degrading force. But he can show the child no other moral basis for it than the Bible. Hence my argument is as perfect as clear. The teacher must be Christian. But the American Commonwealth has promised to have no religious character. Then it cannot be teacher.

My early research - I'm a social psychologist, and my early research was on how people make moral judgments. When I entered the field in 1987, everybody was looking at moral reasoning - how do kids reason about a moral dilemma? Should a guy steal a drug to save his wife's life?

Myth and fairy-story must, as all art, reflect and contain in solution elements of moral and religious truth (or error), but not explicit, not in the known form of the primary 'real' world.

I think a novelist must be more tender with living or 'real' people. The moral imperative of having been entrusted with their story looms before you every day, in every sentence.