Barry Soetoro (a.k.a.) “Barak Hussein Obama,” who has made every effort to hide all records of his true identity and performance (at colossal expense?), who has well-earned the public reputation of being self-contradictory, anti-Constitutional, and prevaricative, has adjured those who oppose his idea of gun control to “examine their own conscience.”
As though he knows what a conscience is?
One who is apparently without moral compass, commands his opponents to be moral?
This is called the epitome of moral relativism. This easily adjustable standard is tantamount to no morality. This is assigning peremptory authority to your own opinion, as though it were the moral standard, no matter what the issue, and no matter what you have publicly said about it before. It all depends on the changing circumstance. It is all “relative” to your situation. (For instance, in 2009 Obama backed the Fast & Furious program to put guns in the hands of Mexican criminals–resulting in the death of hundreds of Mexicans and an American border patrol officer, but campaigning in 2008 he suggested that, for gun control, “We can trace guns that have been used in crimes to unscrupulous gun dealers that may be selling to straw purchasers and dumping them on the streets,” as if that would curb crime.)
Morality in American society has become a sport. It is a game that obsesses us. The drama of right or wrong is the stuff of great movies, TV shows, and still the substance of great sermons. But, with the incessant aggrandizement of morality in politics, while at the same time completely discounting its significance by constant, blatant transgression, the collective conscious of American society is left benumbed to its own language. Any personal moral challenge is dealt with as though it were an act in a drama.
The drama afforded by morality is, besides the woman’s body, the most marketable item up for sale. (Indeed, morality and the feminine are closely related.) Politicians win on not only their superiority of communication, but on the superior morality they communicate. Who’s right? His opponent must be wrong.
As Rush Limbaugh said today, Obama has no solutions to offer. He has only the skill of condemning and eliminating opponents. This is all done by words. “Spin,” it’s sometimes called. If Obama can appear to wield the moral imperatives, then he wins. The Republicans are wrong, and therefore bad. Or, bad, and therefore wrong.
Twenty children were murdered in Sandy Hook (Newtown), Connecticut. Three hundred and thirty thousand children are aborted every year in the United States. [UPDATE: Previous figure pertains to Planned Parenthood. The total figure in the United States is 1.2 million abortions per year (2008).] Which fact carries the stronger moral imperative? Why doesn’t the president ask advocates of infanticide to “examine their conscience”? Because those advocates can all vote. Those not yet born have no voice..
Doctors or practitioners who perform abortions may not be mentally ill, like the crazed shooters; but they kill a lot more human lives. They certainly must be morally ill.
Violence against someone’s will is criminal. But who’s to say the unborn child has no will? Would he choose to be eliminated, if he did? No one wants to be shot, once he’s alive. But, it does not follow that, not yet born, a person would agree to being squashed, or ripped apart.
We would hope and pray that Barry has a conscious. His fellow tribesman O. J. Simpson failed to show evidence of one. John Edwards failed similarly.
But the American public, so crazed by entertainment, finds such public fraud no more than curious and interesting, and, yes, fascinating. The competitive market for outrage is about maxed out. Variety is all that’s left to appeal. Some new angle, new level, some new depth of outrage is all that awaits us.
This is why the Democrats get by with it. The public seems benumbed and eagerly curious to see how far the Democrats will go, how low Obama will sink. It’s entertainment, just like a TV show. It is hypnotic. It is a continuum of catastrophe with highly paid actors, paid by the American ticket-buyers–the tax payers.
Can we snap out of it?