Moral
From Wikipedia, the free encyclopedia
- This article is about the use of the moral in storytelling. For other uses of the word "moral", see morality.
A moral 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. As an example of the latter, 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 moral is "slow and steady wins the race."
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, enabling the writer to make clear the 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.)
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 rôle 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. As Oscar Wilde observes wryly, The good ended happily, and the bad unhappily. That is what Fiction means.[1]
Contemporary audiences are less susceptible to overt morals, and the idea of the "potted message" is one that few modern writers would embrace—indeed, the authors themselves may often have no explicit moral in mind; and yet it may be said that very few plays, films, novels or television dramas are devoid of any message being conveyed by the writer. The genre of the soap opera, in particular, with its capacity for showing long-term consequences of actions and choices, as well as its own development of the principle of the stock character, is a potent modern vehicle for the communication of morals.
