Difference between revisions of "Moral"
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| − | A [[moral]] (from Latin [[morālis]]) is a message conveyed or a lesson to be learned from a story or event. The [[moral]] may be left to the [[hearer]], reader or viewer to determine for themselves, or may be explicitly encapsulated in a maxim. | + | A [[moral]] (from {{Wiki|Latin}} [[morālis]]) is a message conveyed or a lesson to be learned from a story or event. The [[moral]] may be left to the [[hearer]], reader or viewer to determine for themselves, or may be explicitly encapsulated in a maxim. |
| − | Finding morals | + | Finding {{Wiki|morals}} |
| − | As an example of an explicit maxim, at the end of Aesop's fable of the Tortoise and the Hare, in which the plodding and determined tortoise wins a race against the much-faster yet extremely [[arrogant]] hare, the stated [[moral]] is "slow and steady wins the race". However, other morals can often be taken from the story itself; for instance, that "[[arrogance]] or overconfidence in one's abilities may lead to failure or the loss of an event, race, or contest". | + | As an example of an explicit maxim, at the end of Aesop's fable of the {{Wiki|Tortoise}} and the Hare, in which the plodding and determined {{Wiki|tortoise}} wins a race against the much-faster yet extremely [[arrogant]] hare, the stated [[moral]] is "slow and steady wins the race". However, other {{Wiki|morals}} can often be taken from the story itself; for instance, that "[[arrogance]] or overconfidence in one's {{Wiki|abilities}} may lead to failure or the loss of an event, race, or contest". |
| − | The use of stock characters is a means of conveying the [[moral]] of the story by eliminating complexity of [[personality]] and so spelling out the issues arising in the interplay between the characters, enables the writer to generate a clear message. With more rounded characters, such as those typically found in Shakespeare's plays, the [[moral]] may be more nuanced but no less present, and the writer may point it up in other ways (see, for example, the Prologue to Romeo and Juliet). | + | The use of stock characters is a means of conveying the [[moral]] of the story by eliminating complexity of [[personality]] and so spelling out the issues [[arising]] in the interplay between the characters, enables the writer to generate a clear message. With more rounded characters, such as those typically found in Shakespeare's plays, the [[moral]] may be more nuanced but no less {{Wiki|present}}, and the writer may point it up in other ways (see, for example, the Prologue to Romeo and Juliet). |
| − | Arts and morals | + | [[Arts]] and {{Wiki|morals}} |
| − | Throughout the {{Wiki|history}} of recorded {{Wiki|literature}}, the majority of fictional [[Writing]] has served not only to entertain but also to instruct, inform or improve their audiences or readership. In classical drama, for example, the role of the chorus was to comment on the proceedings and draw out a message for the audience to take away with them; while the novels of Charles Dickens are a [[vehicle]] for morals regarding the {{Wiki|social}} and economic system of Victorian Britain. | + | Throughout the {{Wiki|history}} of recorded {{Wiki|literature}}, the majority of fictional [[Writing]] has served not only to entertain but also to instruct, inform or improve their audiences or readership. In classical {{Wiki|drama}}, for example, the role of the chorus was to comment on the proceedings and draw out a message for the audience to take away with them; while the novels of Charles Dickens are a [[vehicle]] for {{Wiki|morals}} regarding the {{Wiki|social}} and economic system of Victorian {{Wiki|Britain}}. |
| − | Morals have typically been more obvious in children's {{Wiki|literature}}, sometimes even [[being]] introduced with the phrase: "The [[moral]] of the story is …". Such explicit techniques have grown increasingly out of fashion in modern storytelling, and are now usually only included for ironic purposes. | + | {{Wiki|Morals}} have typically been more obvious in children's {{Wiki|literature}}, sometimes even [[being]] introduced with the [[phrase]]: "The [[moral]] of the story is …". Such explicit techniques have grown increasingly out of fashion in {{Wiki|modern}} storytelling, and are now usually only included for ironic purposes. |
| − | Some examples are: "Better to be safe than sorry", "The [[Evil]] deserves no aid", "Be friends with whom you don't like", "Don't judge [[people]] by the way they look", "Slow and steady wins the race", "Once started down the dark [[path]], forever will it hold your [[Destiny]]", and "Your overconfidence is your weakness". Aesop's Fables are the most famous of stories with strong [[moral]] conclusions. | + | Some examples are: "Better to be safe than sorry", "The [[Evil]] deserves no aid", "Be friends with whom you don't like", "Don't [[judge]] [[people]] by the way they look", "Slow and steady wins the race", "Once started down the dark [[path]], forever will it hold your [[Destiny]]", and "Your overconfidence is your weakness". Aesop's Fables are the most famous of stories with strong [[moral]] conclusions. |
| − | Morals in [[Moral]] Tales | + | {{Wiki|Morals}} in [[Moral]] Tales |
| − | Morals were one of the main purposes of {{Wiki|literature}} during 1780-1830, especially in children's {{Wiki|literature}}. Part of the [[reason]] for this was the writings of John Locke and Jean-Jacques Rousseau in the 18th century, which brought [[attention]] to children as an audience for {{Wiki|literature}}. Following in their line of [[Thought]], Thomas Day (1748-1789) wrote Sandford and Merton, elevating the [[outstanding]] morals of one young boy above the rapscallion nature of another. Maria Edgeworth (1776-1849) was another prominent author of [[moral]] tales, [[Writing]] about how a [[wise]] adult can educate a child; one of her more famous stories is “The Purple Jar.” The theme of “a young heroine or [[hero]] gaining [[Wisdom]] and maturity was taken up by many other writers” during this [[time]] (p. 93). | + | {{Wiki|Morals}} were one of the main purposes of {{Wiki|literature}} during 1780-1830, especially in children's {{Wiki|literature}}. Part of the [[reason]] for this was the writings of {{Wiki|John Locke}} and Jean-Jacques Rousseau in the 18th century, which brought [[attention]] to children as an audience for {{Wiki|literature}}. Following in their line of [[Thought]], Thomas Day (1748-1789) wrote Sandford and Merton, elevating the [[outstanding]] {{Wiki|morals}} of one young boy above the rapscallion [[nature]] of another. Maria Edgeworth (1776-1849) was another prominent author of [[moral]] tales, [[Writing]] about how a [[wise]] adult can educate a child; one of her more famous stories is “The Purple Jar.” The theme of “a young [[Wikipedia:Hero|heroine]] or [[hero]] gaining [[Wisdom]] and maturity was taken up by many other writers” during this [[time]] (p. 93). |
</poem> | </poem> | ||
{{W}} | {{W}} | ||
[[Category:Buddhist Terms]] | [[Category:Buddhist Terms]] | ||
[[Category:Buddhist Ethics]] | [[Category:Buddhist Ethics]] | ||
Revision as of 23:38, 29 January 2015
A moral (from Latin morālis) is a message conveyed or a lesson to be learned from a story or event. The moral may be left to the hearer, reader or viewer to determine for themselves, or may be explicitly encapsulated in a maxim.
Finding morals
As an example of an explicit maxim, at the end of Aesop's fable of the Tortoise and the Hare, in which the plodding and determined tortoise wins a race against the much-faster yet extremely arrogant hare, the stated moral is "slow and steady wins the race". However, other morals can often be taken from the story itself; for instance, that "arrogance or overconfidence in one's abilities may lead to failure or the loss of an event, race, or contest".
The use of stock characters is a means of conveying the moral of the story by eliminating complexity of personality and so spelling out the issues arising in the interplay between the characters, enables the writer to generate a clear message. With more rounded characters, such as those typically found in Shakespeare's plays, the moral may be more nuanced but no less present, and the writer may point it up in other ways (see, for example, the Prologue to Romeo and Juliet).
Arts and morals
Throughout the history of recorded literature, the majority of fictional Writing has served not only to entertain but also to instruct, inform or improve their audiences or readership. In classical drama, for example, the role of the chorus was to comment on the proceedings and draw out a message for the audience to take away with them; while the novels of Charles Dickens are a vehicle for morals regarding the social and economic system of Victorian Britain.
Morals have typically been more obvious in children's literature, sometimes even being introduced with the phrase: "The moral of the story is …". Such explicit techniques have grown increasingly out of fashion in modern storytelling, and are now usually only included for ironic purposes.
Some examples are: "Better to be safe than sorry", "The Evil deserves no aid", "Be friends with whom you don't like", "Don't judge people by the way they look", "Slow and steady wins the race", "Once started down the dark path, forever will it hold your Destiny", and "Your overconfidence is your weakness". Aesop's Fables are the most famous of stories with strong moral conclusions.
Morals in Moral Tales
Morals were one of the main purposes of literature during 1780-1830, especially in children's literature. Part of the reason for this was the writings of John Locke and Jean-Jacques Rousseau in the 18th century, which brought attention to children as an audience for literature. Following in their line of Thought, Thomas Day (1748-1789) wrote Sandford and Merton, elevating the outstanding morals of one young boy above the rapscallion nature of another. Maria Edgeworth (1776-1849) was another prominent author of moral tales, Writing about how a wise adult can educate a child; one of her more famous stories is “The Purple Jar.” The theme of “a young heroine or hero gaining Wisdom and maturity was taken up by many other writers” during this time (p. 93).
