Top 1200 Moral Of The Story Quotes & Sayings - Page 4

Let's just call things what they are. When a man's love of finery clouds his moral judgment, that is vanity. When he lets a demanding palate make his moral choices, that is gluttony. When he ascribes the divine will to his own whims, that is pride. And when he gets angry at being reminded of animal suffering that his own daily choices might help avoid, that is moral cowardice.

In later years, when I started working in police ethics, I was professionally drawn back to the topic but as well was better able to see two sides to loyalty - its importance for certain central human relations such as friendships, but also its corruptibility in the sense that loyalty could be invoked against other moral constraints: it sometimes function as something of a moral Trojan horse, undermining other moral considerations.

I go to movies with my children and see fat kids burping, parents portrayed as total morons, and kids being mean and materialistic, and I feel it's really slim pickin's out there. There's a little dribble of a moral tacked on, but the story is not about that.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

Whether you work in news, sport, politics, whatever, it's exactly the same; a story is a story, is a story. I consider myself first and foremost a journalist.

The incredible thing happens at the beginning of the story always, you notice, not the end. A Sherlock Holmes story is never a trick story.

There is nothing - not any religious or secular body of work - that comes close to the Bible in forming the moral bases of Western civilization and therefore of nearly all moral progress in the world.

I look for what responsibility the character has in telling the story. If you remove the role from the story, can you still tell the story properly? And if the answer is no, then I'm interested.

The good were worthy of note because they battled and that battle was a great story, whereas the evil were evil because of moral laziness, or weakness, and that was ultimately a dull and uninteresting affair.

I may be a descendant of Seth. I say to myself, What does [the story of Cain and Abel] teach me? So I go back to all the interpretations in the Talmud, which to me are a source of pleasure and joy. Then I say, maybe this story is not for then; maybe it's for now! It's possible for brothers to kill one another in civil wars. But most important, whoever kills, kills his brother. That's a moral conclusion that may not be there; but that must be my conclusion. Otherwise, why read it? Whoever kills, kills his brother.

The Jewish story is the story of wandering. It is the story of extraordinary heterogeneous complication.

The Islamic conquest of India is probably the bloodiest story in history. It is a discouraging tale, for its evident moral is that civilization is a precious good, whose delicate complex of order and freedom, culture and peace, can at any moment be overthrown by barbarians invading from without or multiplying within.

Conscience is what? It is putting together a moral act and a moral ideal, and measuring the act by the ideal. It is putting this moral act which you do alongside the eternal laws of God, and seeing how it stands by those laws of God.

It would be difficult for a writer of realism to avoid suggesting a political/moral perspective in his or her fiction. "Politics" per se is absent from my writing but there is usually a moral (if ironic) compass.

I enjoyed Old Man's War immensely. A space war story with fast action, vivid characters, moral complexity and cool speculative physics, set in a future you almost want to live into, and a universe you sincerely hope you don't live in already.

A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.

The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him

Should our moral beliefs really prove to be dependent on factual assumptions shown to be incorrect, it would be hardly moral to defend them by refusing to acknowledge the facts.

Few things are more damaging to our democracy than a military officer who doesn't have the moral courage to stand up for what's right or the moral fiber to step aside when circumstances dictate.

Everywhere I go - from villages outside Kandy, Sri Lanka, to community centers in Amman, Jordan, to offices at the State Department in Washington, D.C. - I find people with a similar story. When thousands of people discover that their story is also someone else's story, they have the chance to write a new story together.

It is fairly easy to grasp abstract moral principles; it can be very difficult to apply them to a given situation, particularly when it involves the moral character of another person.

How many times do you read about 'the Cinderella story,' the story of the underdog, the story of the ordinary human being, often subjected to cruelty and ignorance and neglect, who somehow triumphs?

We have Russia, on a serial basis, abusing Interpol... The moral of this story is that if a country wants to abuse Interpol they can just keep abusing Interpol and it doesn't really matter how many times they do it.

It's a universal story, it's an immigrant story, and it's a love story. In the United States, if you believe in yourself and you're determined and persevere, you're going to succeed.

Much of the world's moral compass is broken. The moral north reads south and the moral south reads north.

When you write a story, you’re telling yourself the story,” he said. “When you rewrite, your main job is taking out all the things that are not the story.

You cannot have Liberty in this world without what you call Moral Virtue, and you cannot have Moral Virtue without the slavery of that half of the human race who hate what you call Moral Virtue.

The mystery story is two stories in one: the story of what happened and the story of what appeared to happen.

I had always felt life first as a story: and if there is a story there is a story-teller

Although a person acting under authority performs actions that seem to violate standards of conscience, it would not be true to say that he loses his moral sense. Instead, it acquires a radically different focus. He does not respond with a moral sentiment to the actions he performs. Rather, his moral concern now shifts to a consideration of how well he is living up to the expectations that the authority has of him.

I wonder what it is that the people who criticize me for telling this story truly object to: is it that I have dared to tell the story? Or that the story turns out not to be the one they wanted to hear?

With any story I write, I could actually write it from three or four different perspectives, which would end with a completely different moral at the end.

One's own independent judgment is the means by which one must choose one's actions, but it is not a moral criterion nor a moral validation; only reference to a demonstrable principle can validate one's choices.

Wakolda or The German Doctor is a very intimate story. It is the story of a teenage girl and the way she falls in love with a monster. It is the story of a hunt and of a seduction.

In one way or another, this is the oldest story in America: the struggle to determine whether “we, the people” is a moral compact embedded in a political contract or merely a charade masquerading as piety and manipulated by the powerful and privileged to sustain their own way of life at the expense of others.

I believe in both a creative and personal God, a divinely ordered universe, that man has an innate moral sense, and that Jesus was a great moral teacher, perhaps the greatest the world has witnessed.

The remarkable thing about 'Avatar' is the degree to which the technology is integral to the story. It is important to show Pandora and its Na'Vi natives in 3-D because 'Avatar' is fundamentally about the moral necessity of seeing other beings fully.

When you hide another story in a story, that’s the story I am telling the children.

I treasure the Bible. I live in it and work on it all the time. But it is not the word of God. It's the tribal story of a particular people, and the best thing about that story is that the story keeps growing and evolving.

The story of the Kelly system is a story of secrets - or if you prefer, a story of entropy.

History has taught us that freedom cannot long survive unless it is based on moral foundations. You can get the economics right, but in addition liberty must be cultivated as a moral quality.

Story is the umbilical cord that connects us to the past, present, and future. Family. Story is a relationship between the teller and the listener, a responsibility. . . . Story is an affirmation of our ties to one another.

Marxism is a success because it fuses the two inconsistent strains in Western thought - moral skepticism and moral indignation - and makes them complements in the attack against existing society.

We're special because dreams that are impossible anywhere else, come true here. That's not just my story. That's your story. That's our story.

I think repetition is the hardest thing to avoid with sequels, because you've told a story and now you're adding more story to the story.

I think historically modern economics, capitalist economics, tends to erode moral categories... And this is where I think the right gets capitalism wrong. They kind of assume that there is a moral equivalence or moral valence to capitalism, but I tend to think that economics erodes all the kind of cultural taboos and inhibitions and values it comes into contact with.

It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that story.

In the final forms of moral disengagement, wrongdoers treat adversaries as subhuman animalistic, demonic beings. Expunging any sense of shared humanity eliminates moral restraints.

The story of my life is profoundly unclear. It is a rock-and-roll story and, at the same time, a story of my walk with Christ. The two are melded together in ways both unpredictable and unsure.

Scandal is great entertainment because it allows people to feel contempt, a moral emotion that gives feeling of moral superiority while asking nothing in return.

We, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides.

Every story teaches you how to write that story but not the next story.

Foreign novels are less action-oriented. They have a different pace; they’re more reflective. They challenge us to look for the story, find the story within the story.

I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."

God has so framed us as to make freedom of choice and action the very basis of all moral improvement, and all our faculties, mental and moral, resent and revolt against the idea of coercion.

For every once upon a time there must be a story to follow, because if a story doesn't, something else will, and it might not be as harmless as a story.

For me, a story's a story if people want to hear it; it's very much based on oral storytelling. And for me, a story is a story when people give me the privilege of listening when I'm speaking it out loud.

There is a claim coming from the West that says that all art must be outside any moral consideration. I can understand this as a provocation, but I also believe that we can still have very profound creativity with a moral sense.

Words of divine consciousness: moral exaltation; lasting feelings of elevation, elation, joy; a quickening of the moral sense, which strikes one as more important than an intellectual understanding of things; an alignment of the universe along moral lines, not intellectual ones; a realization that the founding principle of existence is what we call love, which works itself out sometimes not clearly, not cleanly, not immediately, nonetheless ineluctably.

And she never could remember; and ever since that day what Lucy means by a good story is a story which reminds her of the forgotten story in the Magician's Book.