Morality In The Crucible Quotes

Political opposition... is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence.

When it is recalled that until the Christian era the underworld was never regardded as a hostile area, that all gods were useful and essentially friendly to man despite occasional lapsesl when we see the steady methodical inculcation into humanity of the idea of man's worthlesseness - until redeemed - the necessity of the Devil may become evident as a weapon, a weapon designed and used time and time again in every age to whip men into a surrender to a particular church or church state.

[W]e conceive the Devil as a necessary part of a respectable view of cosmology. Ours is a divided empire in which certain ideas and emotions and actions are of God, and their opposites are of Lucifer. It is as impossible for most men to conceive of a morality without sin as of an earth without 'sky'. Since 1692 a great but superficial change has wiped out God's beard and the Devil's horns, but the world is still gripped between two diametrically opposed absolutes. The concept of unity, in which positive and negative are attributes of the same force, in which good and evil are relative, ever-changing, and always joined to the same phenomenon - such a concept is still reserved to the physical sciences and to the few who have grasped the history of ideas.

I would wish this book could take the form of a plea for everlasting peace, a plea from one who knows... Or it would be fine to confirm the odd beliefs about war: it's horrible, but it's a crucible of men and events and, in the end, it makes more of a man out of you. But, still, none of these notions seems right. Men are killed, dead human beings are heavy and awkward to carry, things smell different in Vietnam, soldiers are afraid and often brave, drill sergeants are boors, some men think the war is proper and just and others don't and most don't care. Is that the stuff for a morality lesson, even for a theme? Do dreams offer lessons? Do nightmares have themes, do we awaken and analyze them and live our lives and advise others as a result? Can the foot soldier teach anything important about war, merely for having been there? I think not. He can tell war stories.

6. SELF-REVELATION The battle is an intense and painful experience for the hero. This crucible of battle causes the hero to have a major revelation about who he really is. Much of the quality of your story is based on the quality of this self-revelation. For a good self-revelation, you must first be aware that this step, like need, comes in two forms, psychological and moral.

We have forgotten that the prosperity, safety, life expectancy, stability and freedoms we enjoy did not just fall out of the sky. They were built, over centuries, on philosophical and moral foundations that have withstood the test of time. They were defended over and over again by our ancestors who bled to defend them. They were refined in the crucible of fierce political and ideological debates.

Like the best of the arts, pro football worked on multiple levels. For the loyalists, there was the fortune of the home team. For neutral or casual fans, there was action, skill, suspense, and violence. For gamblers, the wagering proposition. For those with a deeper interest, the game could exist on a larger canvas—as a morality play; a cultural metaphor; a crucible of values in which teamwork, sacrifice, and dedication were rewarded, while selfishness, cowardice, and sloth were harshly punished. What those who were contemptuous of sports misunderstood was not merely that a middle-class sports fan might revere football to the same degree that an inveterate theatergoer revered Shakespeare, but that he might do so for many of the same reasons.

10 fundamental lessons of history: 1. We do not learn from history. 2. Science and technology do not make us immune to the laws of history. 3. Freedom is not a universal value. 4. Power is the universal value. 5. The Middle East is the crucible of conflict and the graveyard of empires. 6. The United States shares the destinies of the great democracies, the republics, and the superpowers of the past. 7. Along with the lust for power, religion and spirituality are the most profound motivators in human history. 8. Great nations rise and fall because of human decisions made by individual leaders. 9. The statesman is distinguished from a mere politician by four qualities: a bedrock of principles, a moral compass, a vision, and the ability to create a consensus to achieve that vision. 10. Throughout its history, the United States has charted a unique role in history.

In extremis leadership always comes with a tangible moral obligation. When lives are at risk, an undeniable moral responsibility fosters unconscientious and total commitment. Responsibility for life fosters an intense focus. Leading under such circumstances is less about power over subordinates and more about an obligation toward their well-being and survival. In extremis circumstances provide a crucible for the development of positive leadership habits.

I found that there are many examples of that in the literature. Some of you may have read the book Man’s Search for Meaning by Viktor Frankl, veteran of the Holocaust and a psychologist and lecturer. He says that the big threats to morale in the crucible are not the pessimists but the incurable vocal and persistent optimists. That being so, think how much more damage gratuitous statements of political or religious dissent could do to people close to the wire. It is easy to forget that, in this age of free speech at any cost.

Integrity is the moral currency that never devalues; always choose to do the right thing. Character is forged in the crucible of choices, and the finest character emerges when one consistently does what's right

I believe the Bishop is a man of great courage and sincerity.... but remember that he is not being schooled in the crucible of real nationalist politics. He is not able to speak with more than one voice. He is sincere in what he says. Whites must be led led down the garden path to the place of slaughter. Morality does not come into it.

No one person, however brilliant or well-informed in the Mysteries, can come in one lifetime to such fullness of understanding as to safely judge and dismiss the customs or institutions of his society. These customs are the culminations of the wisdom of generations of experiment in the crucible of history. A youth boiling with emotions will wonder why he—or she—should not give full freedom to his or her desires. Alas, we have learned from sad experience that if the young are left unchecked by customs, morals, or traditions, they may well ruin their lives before they mature sufficiently to understand this essential truth; desire is a river of living fire that must be banked, cooled, and channeled by copious measures if it is not to consume in a flood of burning chaos both the individual and society.” —Lady Corinne of Pavenham Sky

• Battle The final conflict that decides the goal. Regardless of who wins, the audience learns which values and ideas are superior. • Final Action Against Opponent The hero may make one last action—moral or immoral—against the opponent just before or during the battle. • Moral Self-Revelation The crucible of the battle produces a self-revelation in the hero. The hero realizes that he has been wrong about himself and wrong toward others and realizes how to act properly toward others. Because the audience identifies with this character, the self-revelation drives the theme home with great power. • Moral Decision The hero chooses between two courses of action, thus proving his moral self-revelation. • Thematic Revelation In great storytelling, the theme achieves its greatest impact on the audience at the thematic revelation. The thematic revelation is not limited to the hero. Instead, it is an insight the audience has about how people in general should act and live in the world. This insight breaks the bounds of these particular characters and affects the audience where they live. With a thematic revelation, the audience sees the “total design” of the story, the full ramifications of what it means, on a much greater scale than just a few characters.