A Vicious Circle Tightly Enforced:

A Vicious Circle Tightly Enforced:
Many ordinary people or actors speak in a harsh, explosive or stabbing manner (and often do not realize they do). They are always acting because speaking explosively creates stress and is therefore going against themselves, driven by emotion in the name of intimidating or dominating others.
It is not possible for a calm, clearly thinking mind that does not go against itself to speak explosively.
Such explosive speech can only issue from restless, distressed, disturbed minds. Anyone who speaks explosively will stress himself apart stressing anyone within earshot. This is a universal law and yet fools keep infracting. This stress created by speaking explosively affects his mind to force him to further lash out by speaking explosively in cycles of foolish positive feedback until, in time, speaking explosively and the stress it engenders have a vice like grip on him. He foolishly does not realize that he is now like a fly stuck on a spider’s web. The spider will later approach and consume him. His stress from speaking explosively will escalate and one day he will be stressed and restless in a mad way, seemingly for little reason.
When a person grimaces, it is always an act that may be driven by stress to exaggerate and exhibit his stress for others to see or faked to deceive (that he is concerned for them, that he is sick and wants a sick leave from the doctor). Whatever the motive, grimacing itself creates stress which impacts on that mind that grimaces driving it to further act.
When a person rushes, it is always an act and may be driven by stress he experiences or it may be faked to impress others how efficient or purposeful he is. As a result of rushing, he becomes stressed providing impetus for further rushing that becomes addictive.
When a person smiles, it is always an act that may be driven by stress (to conceal stress from others), to exhibit one’s agitated happiness or excitement for material or sensual gains (eg someone praised you) or to be nice (please others). All actors act constantly and they are therefore under constant stress and they create more stress for themselves by hiding behind a faked smile. Whatever the drive behind smiling, smiling itself creates stress that drives the actor to distraction, a condition that promotes acting and deter non acting.
Stretching syllables, a form of acting is not something people do occasionally but (to one who discerns) virtually with every syllable they utter, sometimes subtly (eg sibilant ‘sss’ or ‘wWhaaTtt’ instead of ‘what’) other times outrageously (‘ppleeeaassseee’ instead of ‘please’), full of force. Although stretching syllables is an option and not inevitable when speaking, it is now involuntary, automatic, cannot be helped in actors by force of habit and imitation of others around them.
Whenever a person stretches his syllables (an act to impress others, everybody does it), he creates stress unnecessarily for himself (stretching syllables take effort & consumes energy) and because he does it all the time, it creates conflict leading to tension and the threat of loss of control. Further because he himself is stressing himself by stretching syllables, ill will or anger towards himself and others he is forced to stretch syllables to, is created.
Because emotions (anger & ill will), stress, tension and restlessness are quick to arise and slow to fade and he keeps stretching his syllables, the actor is constantly besieged by emotions (anger), stress, tension and restlessness that in turn prevents his mind from being calm & mindfully in control but instead it is distracted, scattered and submissive to harmful external incitement to keep acting.
Not only has the actor inducted himself into an acting cycle that is extremely difficult to extricate himself (unless he has concern for his own and others’ suffering created by his acting, awareness it will not remain static but leads to inevitable crisis and dedication), because everywhere he is surrounded by fellow actors bombarding him with stress inducing and clear thinking obscuring harsh acting, it is as if he is constantly subjected to mind numbing brainwashing to keep acting and become amnesic about peaceful none acting.
HENCE, ONCE A PERSON STARTS ACTING (STRETCHING HIS SYLLABLES), HE CREATES STRESS, TENSION, RESTLESSNESS & ANGER THAT ARE INIMICAL TO CALM CLARITY OF MIND ESSENTIAL TO NOT ACT BUT INSTEAD THEY KEEP THE MIND SCATTERED, RESENTFUL AND VULNERABLE TO INCITEMENT BY OTHERS TO ACT, PROMOTING CONTINUED ACTING WITH EMOTIONAL AVERSION TO REVERT TO NON ACTING. ONCE A PERSON ACTS, THE MOMENTUM TO KEEP ACTING IS INEXORABLE, SELF REINFORCING, HABIT FORMING AND SOON THE ACTOR FORGETS STRETCHING SYLLABLES IS NOT SOMETHING INTRINSIC BUT LEARNT BY IMITATING OTHERS AND INITIALLY FORCING HIMSELF BUT HE IS NOW FORCED TO.
A CALM & CLEARLY THINKING MIND IS NOT CONDUCIVE TO ACTING BECAUSE IT IS TRULY HAPPY AND TO ACT WOULD BE TO DESTROY THAT SERENE CALM. BY NOT ACTING, THE CALM, CLEARLY THINKING MIND IS MAINTAINED.
A STRESSED, DISTRACTED, DISTURBED MIND IS CONDUCIVE TO ACTING AND ACTING PERPETUATES THIS STRESSED, DISTRACTED, DISTURBED MIND TO CONTINUE ACTING, TO SINK DEEPER INTO ACTING.
ONCE THIS VIRTUOUS CIRCLE (CALMNESS & NOT ACTING MUTUALLY REINFORCING EACH OTHER) IS BREACHED BY STRESSFULLY FORCING ONESELF TO ACT, ONE DESCENDS INTO A VICIOUS CIRCLE OF ACTING WHERE STRESS AND ACTING ARE MUTUALLY REINFORCING, NOT IN DYNAMIC EQUILIBRIUM BUT IN SLOWLY TIGHTENING CIRCLES THAT WILL STRANGLE THAT FOOL AND SEND HIM EVEN INTO ETERNAL PUNISHMENT.
Actors are ordinarily no longer conscious that the ways they behave or speak are forcefully acted, even faked not natural or true. For instance, they believe their social smiles are genuine when they are always fakes, not exaggerations. Despite constant stress and tension that can often become unbearable, they believe in the genuineness of their behavior and are blinded not to see the infallible link between their conduct and their suffering. Only when an actor is forced to learn a new role is he conscious somewhat or more conscious of the stress and effort of having to learn a new act that he is not familiar with. He is aware of the hesitancy, awkwardness and stress when he tries to play the new role of doctor or clinical medical student. There is not surprisingly inevitable resistance and reluctance in all actors to learn new roles because all new acts are new ways of stressfully going against oneself and to learn and adopt a new role is to stressfully force oneself to learn and adopt a new stress. However, once he has successfully incorporated the new role into his acting repertoire, it is back to business as usual, toiling under stress and struggling to cope, hoping no new roles are required of him.
ANYONE WHO WISHES TO ESCAPE THE WHIRLPOOL OF ACTING HAS A MOUNTAIN OF PAST HABIT FORCE OR IMPULSE OF ACTING TO CLIMB PLUS THE INCITEMENT OF OTHERS EVERYWHERE TO CONTINUE ACTING & FEW WILL HAVE THE DEDICATION OR CONSCIENCE TO PERSIST, PREFERRING TO COMPROMISE (NOT REALIZING THE WOEFUL CONSEQUENCES) BY TONING DOWN THEIR ACTING. AS I SEE, PEOPLE EVERYWHERE HAVE ONLY TURNED DOWN THE VOLUME OF THEIR ACTING, NOT STOPPED THEIR ACTING BECAUSE EVERYONE HAS DONE SO AND THEY DO NOT WANT TO SUFFER, ALTHOUGH THEY DON’T WANT TO BE TOTALLY TRUE EITHER. IF HE IS DETERMINED, HE MUST NOT PERMIT STRESS AND RESTLESSNESS TO BUILD UP DAILY UNTIL THEY ARE OVERWHELMING BUT HE MUST SET ASIDE GREED AND CONCERNS FOR THE WORLD TO MONITOR HIS STRESS LEVELS SO THAT HE CAN SWIFTLY NIP STRESS AND RESTLESNESS IN THE BUD BY SECLUSION AND RESTORATIVE MEDITATION TO RESTORE CALM THAT IS CONDUCIVE TO ASSERTING ATTENTIVE SELF CONTROL THEREBY SHEDDING MINDLESS STRESSFUL ACTING. BY MINDFULLY REFRAINING FROM SMILING AND STRETCHING ONE’S SYLLABLES, ONE SIGNIFICANTLY REDUCES ENDOGENOUS STRESS CREATION SO THAT ONE CAN BETTER COPE WITH THE BOMBARDMENT OF STRESS FROM OTHER PEOPLE’S ACTING.
Because everyone is suffering and they cannot be true and good to help themselves and they are in hell now and heading for even greater hell, they want to make others suffer too by speaking and doing things explosively to incite others. When others lash back, they too will be addicted and together they go to hell. Only the wise few will learn to meditate to make their minds rock steady not to be drawn in. The Devil and the vast majority in the world are incorrigible and it is their desire to con you to defile yourself.
(AT FIRST YOU FORCED YOURSELF TO SMILE, GRIN, FROWN, SCOWL, WINK, NOD, SHAKE YOUR HEAD, OPEN YOUR EYES WIDELY TO FAKE AMAZEMENT TO PLEASE OR IMPRESS OTHERS BUT IN TIME, THE STRESS {DUE TO YOUR ACTING} BUILDS UP, BECOMES RESIDENT, YOUR FACIAL EXPRESSIONS HAVE BECOME WELL PRACTICED AND THEN YOU ARE NO LONGER FORCING BUT FORCED HELPLESSLY BY YOUR OVERPOWERING STRESS, RESTLESSNESS AND EMOTIONS TO FACIALLY EXPRESS YOURSELF. EVEN WITHOUT AWARENESS, EVEN IF YOU DID NOT WANT TO, YOU WILL SMILE OR WINK OR NOD BEFORE YOU KNOW YOU HAVE DONE SO.
WHAT ACTORS DO NOT REALIZE THAT THIS IS ONLY AN INTERMEDIATE STEP IN THE PROCESS OF INCREASING AUTONOMY, BYPASSING THEIR INCREASINGLY TENNUOUS SELF CONTROL ENDING ACUTELY OR IN OLD AGE WITH HELPLESS MANIA, MAD VIOLENT IMPULSES AND DEPRESSION.)
ALL EXPRESSIONS ARE ACTS:
ALL EXPRESSIONS, BE THEY FACIAL (SMILE OR GRIMACE OR PUZZLED), GESTURES OR POSTURES (EG SEXY, PROVOCATIVE FEMALE POSE) ARE ACTED, NOT ONLY IN THAT THEY ARE UNNECESSARY BUT THEY ARE CARRIED OUT WITH EXCESSIVE FORCE THAN IS IN TRUTH NEEDED TO PERFORM.
NO MATTER HOW PROUD OR DEFIANT YOU ARE, YOUR EXPRESSIONS EXPEND PRODIGIOUS ENERGY, CREATES STRESS, CONFLICT LEADING TO RESTLESSNESS, MAD IMPULSES AND DEPRESSION. IT HURTS YOURSELF AS IT HURTS OTHERS AND YOU HAVE KARMIC DEBTS, NOT MERIT ON YOUR HANDS.
STILL, THE IMPULSE TO EXPRESS IS IRRESISTIBLE, PEOPLE EVERYWHERE EXTORT IT AND EVEN THOUGH YOU ARE STRESSED, SOMETIMES EVEN UNBEARABLY SO, IT IS EASIER TO ‘COPE’ AND HAVE FAITH YOU ARE BEING GOOD IN EXPRESSING YOURSELF, NOT HARMING YOURSELF AND OTHERS. BUT WHEN YOU UNEXPECTEDLY FALL INTO A PIT YOU NEVER IMAGINED YOU WOULD, THEN YOU WILL RUE IN BITTER REGRET TOO LATE EVEN FOR AN EON THAT YOU HAVE BEEN TRICKED BY YOURSELF AND OTHERS.
The fact that the impulse to express oneself facially, by gestures and posture is irresistible, even if actors wanted they cannot stop themselves from smiling, grimacing, gesticulating, nodding their heads in response to challenges from others, when not expressing is easeful and expressing is stressful indicates that restlessness, loss of control or enslavement to external triggers is the default state in actors, not stillness, control and imperturbability. This state of restlessness, distractibility is not static but progresses with chronic acting leading to mad restlessness, mad impulses and depression.
Ordinary people do not realize they are forcefully acting all the time, forcefully hammering their minds with mind warping stress and degrading it. Their minds may already have become permanently warped and they are headed for certain & total degradation and they are still foolishly enchanted by their acting. A lot of people, including those who think they are very good, will not believe there is cane for them until they see the cane when if they observe the stress and mad impulses that they are saddled, they should know there is a cane in their future.
Uncertainty Is Not A Certainty But Its Suffering & Sin Is:
Many do not realize they share the stubborn human wrong view that uncertainty is blameless and surely one cannot be certain about things, how can one ever be sure in this world?
Uncertainty the Buddha said is a one of three lower fetters (plus self identity views & faith in rites & precepts) bonding that person to future states of woe.
It is because people can never let their yes be yes only, they are never true to themselves, never true to others, they never (not sometimes) mean what they say or say what they mean, which is why they are uncertain of themselves, others and things in this world. When people think they let their yes be yes or mean what they say, they say it (or do it) with force, with emphasis, with passion and that is not truly meaning what they say. It is the constant shadow of doubt that is of their own making that is the source of all their uncertainty.
Not only are people uncertain of themselves, they create karma for themselves by deliberately making others uncertain, asking them to be sure of themselves (are you sure, is that so, really?), pretending not to hear when they do, forcing others to repeat themselves and believe what they said clearly was not clear (har??, ehh? what did you say???), they keep asking the same question when the answer has been given.
Uncertainty may be false, a delusion and certainty more certain than sinful people think otherwise Jesus would not be able to tell Peter that before the cock crows, he will deny him thrice or ‘when you were young, you girded yourself and walked where you would; but when you are old, you will stretch out your hands, and another will gird you and carry you where you do not wish to go (to be crucified)’. The future cannot be absolutely uncertain if a Buddha can say that in three months hence, he will pass away or a monk can pass away by elevating himself and reducing himself to a pile of dust after bidding the Buddha goodbye. As Jesus said, if you have faith, you can tell the mountain to move and it will be done. It is because men have no faith but they have all the faith in their sinful ways and the uncertainties of the world that they cannot move mountains. Uncertainty is not a blameless fait accompli but the inevitable affliction or disease of those who are not truthful but only pretend and believe they are.
Vulnerability To Provocation Is Not Blameless & Suffering:
When a TV cameraman approached a group of teenagers in an audience, a few girls started to stir (involuntary unintended acting). Some boys were also provoked but they pretended that they were not bothered by looking away or not looking and suppressing their facial expressions (conscious, voluntary, intended acting).
In this situation, a person not given to acting, who has meditated correctly will be aware of the TV cameraman’s approach that may even be deliberately provocative but his rock like mind enables him not to be stirred nor does he has to force himself to act unruffled.
To be vulnerable to provocations is not blameless but indicates a mind that is not its master but a slave to influences & incitement. If you are vulnerable to provocations, you can be provoked to get angry, to become greedy or lustful and commit wrongs. People everywhere disturbed by stress and driven by ill will, behave and speak in ways that incite others (creating karma for themselves) and those who are drawn in will be party to sin. Even if you have been provoked to lash out, in lashing out you create stress and karma for yourself.
Can you hypnotize a Buddha? He said no beings in this world can possess his mind. It is only defiling people who are vulnerable to provocation, slaves to sensations, not masters of their own minds, capable of making belief or vulnerable to suggestions that can be hypnotized.
It is possible to cultivate a mind that is steady, calm, clearly thinking and cannot be provoked by others to become emotional or retaliate or react. Nowadays when people spit or display violent reactions that are likely directed at me, I remain unruffled, with little and often no urge to retaliate because my mind is truly calm and I do not wish to exit calm by getting upset (hurt or angry). When people smile at me, I have no urge to smile or therefore no urge to suppress. Joyful is the man who is a master of himself able to determine whether to respond or remain silent. Years ago, I would be lying if I said I am not hurt or angry when someone spat venomously in my presence but now, my mind in a blissful state that is not easily ruffled, I would be foolish to consciously exit my calm to become hurt or angry.
If you don’t meditate to make your mind steady, not vulnerable to provocations, you will suffer because there are many provocateurs (including so called good people) out to make others suffer and unless you can see the evil or concealed intentions of others clearly and elevate your mind above the fray, you will suffer. It is possible to make one’s mind blissfully immune to provocations without needing to apply force to one’s mind but it can only be done by meditating to make one’s mind rock steady and serene.
This world, including its beings (and animals) is very provocative and intrusive. Everywhere, people talk (and make noises eg revving their vehicles, cough or sneeze frequently, unnecessarily in blasting manner) in harsh, loud, explosive manners that provokes anyone within earshot to be stressed and respond one way (lash out) or another (force themselves to bear). The only way out of this impasse is to not act, practice conscientiously meditation so that one’s mind enters a serene state not to be drawn into a fray.
Even if actors wanted, they can never experience this serene, stilled mind that is like a rock, un-agitated in the midst of what causes agitation in others. He does not suffer now and does not suffer later. Be proud of your responsiveness and suffer now as people bombard you with stress you are forced to respond and your suffering will deepen in the future.
IT IS BECAUSE ACTORS ARE NOT HAPPY, ONLY ACTING HAPPY, THEY ARE STRESSED, THEIR ANGER HELD AT SHORT FUSE OR SHORT LEASH, THEY ARE SENSITIVE AND PROUD THAT WHEN SOMEONE SPITS AT THEM, IT IS THEIR OVERWHELMING IMPULSE TO EXPERIENCE HURT AND THEY WILL THEREFORE LASH OUT OR PAINFULLY RESTRAIN THEMSELVES. THEY WILL BE ONLY KIDDING THEMSELVES AND OTHERS TO SAY OR ACT AS IF THEY ARE NOT HURT OR ANGERED WHEN THEY ARE SPAT ON. ONLY A NOBLE PERSON FULLY MASTER OF HIS MIND AND RESIDING IN TRUE SERENITY CAN CONSCIOUSLY CHOOSE NOT TO DESCEND FROM HIS ROCK LIKE SERENE MENTAL STATE TO GET INVOLVED, HURT AND ANGRY. ORDINARY PEOPLE ARE PRETENDERS, STRESSED, SENSITIVE TO INSULTS AND CANNOT HELP EXPLODING LIKE A VOLCANO WHEN PROVOKED. LIKE A CRAB, THEY WILL SNAP AT ANY STICK POKED AT THEM.
As a mountain of rock is unmoving,
firmly established,
so a monk, with the ending of delusion,
like a mountain, doesn't quake.
Unconsciously Nice:
I asked this school teacher who is a spinster, who is having term holidays in an unemotional, matter of fact way without conveying any derogatory intention whether she went anywhere for her current holidays and she said “No” emphatically with a laugh.
What is so funny about not going anywhere for a holiday? Perhaps she is defensive or guilty about not going anywhere, and is laughing to deny her sensitivity. When I told her that her blood pressure was a bit high, she said excitedly, “Wow! So high??” This is again an unnecessarily exaggerated or even faked reaction. It is little wonder she has high blood pressure when she is constantly forcefully, emotionally reacting in all her interactions.
Clenched Fists & Teeth:
If actors observed themselves they will detect moments when their fists, teeth or forearms are clenched or in a state of (unnecessary) tension or they fold their arms tightly (clenched) across their chests, they drum their fingers restlessly, shake their legs restlessly.
All these emanate from tension within which in turn is derived from acting. The constant forcing themselves to go against themselves to exaggerate and fake and the constant counterforce to restrain themselves creates tension that is reflected in clenched fists or jaws. What actors do not realize is that such tension is habituating, becoming increasingly easier to arouse and shake off and they are headed for an appointment with mad restlessness, mad tension, insanity and depression.
Every step in the process of acting, be it spoken or done, is attended by tension resulting from conflict. From initiation of an act when force must be used to overcome self resistance in order to initiate the act to deceive, impress, please, dominate or intimidate others, force must continue to be applied against the forceful resistance that must dog the act because going against oneself is very harmful if not subject to forceful control.
Hence, the process of acting, from start to finish, be it spoken or done is a constant battle between the force of going against oneself and the force of restrain and control. To give up resisting or not resist one’s going against oneself is to succumb entirely by going mad or suicide. This is why acting is always stressful, accompanied by conflict and tension that actors strive to suppress and deny, refuse to see the connection.
If what one said or did is true, not tampered, not forced to go against oneself as in acting, then there is no need for force to restrain what is not forced and there will be peace, no conflict and tension from start to finish of one’s speech or deed.
Hence the non actor’s speech and action is always smoothly effortlessly rising thence to be maintained evenly and then smoothly ending, without hesitation.
The actor’s speech and action, reflecting the constant resistance or inevitable opposition dogging that going against oneself, is always filled with detectable force, starts explosively or suddenly, is jerky (cog wheeling can always be detected just like the sweep of a watch’s second hand is never smooth but by small steps that can be detected by the observant), excessively forcefully loud or soft, accelerates and decelerates rapidly in speed and loudness intra sentence and never constant but fluctuating.
(Those who remember Ronald Reagan’s way of speech might picture him speaking thus, “I (shake, shake, shake of head and hands), owe (shake, shake, shake), my (shake, shake, shake), life (shake, shake, shake), to God (shake, shake, shake). This is the actor’s jerky speech)
Tampering With What One Says Or Does:
Whenever a person acts, he must take what he wants to say or do and tamper with it using force (you cannot tamper anything without using force) in order to deceive, please, impress, dominate or intimidate others. This is called exaggerating. When you fake, you must forcefully concoct up words or deeds that you really don’t want to say or do, eg pretend to read a book when you don’t want to read a book but to block off the view of the passenger facing you.
Hence, an actor can NEVER let his yes be yes only but must take what he wants to say or do and give it a twist, a spin, some zip, some force, jazz it, stretch the syllables, stretch the act.
The Forces Behind Acting:
Ordinary people, including most children have long ago graduated from having to consciously force themselves to act to being forced unconsciously to act.
And what are the forces that force them to act?
They are their emotions (anger, ill will, lust, greed, jealousy, pride, shame, fear), their stress or restlessness or seething tension. Because actors experience stress, tension and restlessness all the time they are never fully in control of themselves but distracted to become submissive, even in those who are brutes are actually not in command but on the back foot, defensive rather than dominating or presiding over situations that arise and bombarded by powerful acting incitements by others, they are harassed or compelled to act as they have always done.
It is these forces (emotions, stress, tension, restlessness) that force actors to act, often in an impulsive fashion that once triggered, must be carried out. These forces are abetted by the actor being surrounded everywhere by everyone who bombard him with their stressful acting, who expect, extort and reward acting from him.
Whitewash:

If you read a chronicle of Reagan’s past, it is far from flattering. He was the poor son of an alcoholic father who graced many B grade movies and whose star had long faded when he was rescued by politics (governor of California). His greatest asset is his ability to act (at great cost in secret stress and internal tension) or put on a show of being respectable, confident and charming in a way deluded Americans are enamored with.
He cruelly mocked hippies as looking like Tarzan, talking like Jane and smelling like cheetah (with grave karma and in his latter years, it could also be said he looked like a man but acted like a vegetable), exaggerated when he said environmentalists will only be happy when they turn the White House into a bird nest (misrepresenting environmentalists as loonies). As he denigrated others (hippies), he himself was far from moral and righteous. Jesus said you will be judged for every careless word, yet many will still utter things foolishly and emotionally (nor can they help it), not realizing they have a reckoning with payment that is much more painful and everlasting than their impetuous, ill thought utterances.
In the picture above, he is staring as if lost, in a daze (of falsehood, imagination, make belief) a harbinger of his Alzheimer, the face heavily, permanently creased from lifelong ‘expressing himself’ or acting. There is stress and suffering of a chronic, increasing nature written all over his face that fellow actors ignore or fail to see (and are themselves foolishly heading for). He is no longer forcing himself to act, but emotions and ingrained stress and tensions in his mind forces him to grimace or screw up his face as depicted.
Quote: Former Congresswoman Patricia Schroeder still laughs when recalling budget battles with the Reagan White House.
"This is a person who said he believed in balanced budgets but ran the biggest deficit in history," she said.
Reagan was dishonest, a sin, will suffer as a result and she is laughing at his sins, encouraging Reagan and others to believe it is OK or even fun to lie. Isn’t she sick or has a perverted sense of humor? She will be even more sick, unable to laugh when her sins ripen. A lot of people have severely underestimated their debts due because they have no eye for the truth. Since ordinary people have no eye for the truth and still do not despite being told, how can they usurp the Spirit of Truth?

Donald Duck too is an actor, which is not surprising because he was created and voiced by actors. Apart from his loud, insistent, harsh voice that stresses not soothes, he is pictured above not just walking but walking briskly with style and unnecessary force, twisting his body excessively whilst smiling, opening his eyes excessively and talking. You cannot mindfully walk but act walking when you are smiling and talking at the same time. Donald Duck is a suffering sinner, no saint.
A NON ACTING PERSON CAN WALK JUST AS FAST AS DONALD DUCK (USING MUCH LESS ENERGY) WITHOUT TWISTING HIS BODY (AND HEAD) AND FLAILING HIS LIMBS AS UNNECESSARILY MUCH, WITHOUT SWINGING AS FORCEFULLY STIFF. ALL ACTORS ALWAYS PUT EXTRA FORCE INTO THEIR MOVEMENTS AND EXAGGERATE THE RANGE OF THEIR MOVEMENTS UNNECESSARILY FOR SHOW.
Poetry, Philosophies & All Abstractions Are False & Suffering:
The Buddha never indulged in any philosophical speculations but in many ways discouraged them because if you can see the truth, all is clear and there is nothing to speculate or be philosophical about. All philosophy is pretentious, false and dependant on a deluded mindset that thinks there are fascinating things to ruminate and mentally weave.
IF YOU LET YOUR YES BE YES ONLY WHAT IS THERE TO BE POETIC OR PHILOSPHICAL ABOUT? IF YOU CANNOT LET YOUR YES BE YES ONLY THEN THERE IS EVERYTHING TO BE POETIC OR PHILOSOPHICAL BUT THEY ARE ONLY FRUITLESS VEXATIONS, GOING AROUND IN CONCEITED CIRCLES AND SELF FLAGELLATION.
The Buddha uttered many verses not to be poetic, not to rhyme for show but to convey clear messages unlike poets who indulge in flourishes and the play of words for show or to impress others.
Compare:
Adhipataka Sutta:Insects
The Blessed One was sitting in the open in the pitch black of night, while oil lamps were burning. Many flying insects were meeting their misfortune in those oil lamps.
Then, the Blessed One exclaimed:
Rushing headlong, missing what's essential,
bringing on one new bond after another,
like insects falling into the flame,
some are intent only on what's seen & heard.
And this:
Confusion, fear and lies;
What good can come when people die?(Why do you bear arms then?)
Red Blood spilt
On barren land
To complete an alchemical plan,
Red Blood to Black Gold,
Deviously poisoning, polluting, choking our Heart.
Men tortured, defiled, dishonored by their Brethren,
Captured on film, a permanent bruise
Not to be overlooked.
Truth and honor wither away;
They know they do not belong.
Boundaries grow hazy
Accompanied by roles:
Who the victim? Who the villain? Both? Neither?
For what purpose and to what end?
Why fight a war
Paid with lives
Only to gain confusion, fear and lies? (Irony is not a sign of saintliness but sin)
How Come:
How come psychiatrists never tell their patients, “I think the trouble with you is that you act too much, you are too nice? Try cutting down on your forceful exaggerations and faking. You can start by wiping that semi permanent false smile off your face forever and work to stop stretching your syllables.” If any patient truly stopped smiling (even mentally) or stretching his syllables, he will achieve a peace of mind denied all the best medical treatments, all the philosophizing and piety in this world.
A Big Oil Coverup?
According to this article, some oil experts think that the Saudi promise to boost oil by 3 million barrels per day is empty talk because it cannot boost output by more than 300,000 barrels. Official reserve estimates by governments and oil companies are faulty or lies, just as Shell was recently forced to admit. The world may be running out of oil, North Sea oil production is dropping by an accelerating rate and oil need to rise to $182 not the current $42 per barrel to reduce demand to allow for a switch to alternatives. But because mankind cannot face the truth (there may be profiteering interests to keep quiet), there may be a sudden crisis.
Is the world's oil running out fast?
The Association for the Study of Peak Oil (ASPO), a group of oil executives, geologists, investment bankers, academics and others has been warning the world of high oil prices, and the ensuing fallout, for some years now.
The end of cheap oil
They are united by one idea that global oil production is about to peak, which in turn will signal the permanent end of cheap oil.
Who hurts when prices explode?
"Oil is far too cheap at the moment," says Mr Simmons.
"The figure I'd use is around $182 a barrel. We need to price oil realistically to control its demand. That is because global production is peaking."
The adherents of the peak oil theory warn the decline of world oil output will force oil prices higher for good, and that the knock on effects could be catastrophic.
"In my opinion, there will be no linear change," says Iran's Ali Bakhtiari. "There will only be sudden explosive change."
Much of ASPO's predictions stem from the calculations of Dr Campbell.
His work on oil reserves suggested that many official oil data are either flawed or downright lies.
Scandals like the 23% of 'lost' reserves at Royal Dutch Shell have helped to boost interest in his work.
"Many reserve figures are highly questionable," says Dr Campbell.
"Many great oil fields are increasingly old and inefficient. "
'Difficult times'
"For the time being there is no spare capacity. But we expect demand to increase by the fourth quarter (of the year) by three million barrels a day."
He pinned his hopes for an increase in production on troubled Saudi Arabia.
"If Saudi does not increase supply by 3 million barrels a day by the end of the year, it will be very difficult. "
Can Saudi deliver?
But even Mr Birol (Industry spokesman) admitted that Saudi production was "about flat".
Three million extra barrels a day would mean a huge 30% leap in output in just a few months.
When BBC News Online asked if this giant increase in production was actually possible rather than simply a desire he refused to answer.
Asking other delegates whether such a steep increase was feasible, the answers were unambiguous: "absolutely out of the question," "completely impossible," and "3 million barrels - never, not even 300,000."
Some recent figures tend to back up ASPO's outlook.
North Sea production is declining at an increasing rate, having peaked in 1999.
Not at the predicted flat rate of decline of 7%, but gradually accelerating from 7% to 8.5% to 11%.
And the number of major new oil fields discovered around the world fell to zero for the first time in 2003.
"We need transparency with the figures," says Dr Campbell.
"Consumer countries need to be able to audit fields, but at the same time 'flat earth' economists who believe in endless growth need to change their ideas."
And Dr Campbell has a dire warning: "If the real figures were to come out there would be panic on the stock markets, in the end that would suit no one."
How Actors Always Use Excessive Force:

A non-actor can swing his arms with the same speed, through the same arc of movement as Donald Duck above yet he will ALWAYS use significantly less force and thence less energy & stress.
This extra force than is truly needed to accomplish an action at a given speed comes from two sources; intentional and unintentional:
Intentional Or Deliberate: Force or power is always worshipped by goats, so actors have this delusion that the more redundant force they apply to or insert into whatever they say or do (including so called ‘love’), damn the stress, at least whilst it is bearable, the more impressive they will be. Hence, when actors swing their arms, they deliberately add as much force as possible, even way above that needed to overcome self resistance always engendered in going against oneself to act, to appear as stylish or confident or accomplished as they possibly can but because they have added considerable extra, useless force for show more than is necessary at that speed, that force must be stressfully controlled or countered or it will push the swing faster than even their large egos desire. In other words, this extra, useless force actors applied in their swings, for show, must be stressfully restrained or the swing will flail violently or become too fast demanded by the laws of physics. This is the stiff, clenched arm swing as opposed to the relaxed arm swing at the same speed.
This intentional, deliberately applied useless, extra, for show force, even above self resistance that is mandatory in all acting, may be the major reason why actors use much more force to accomplish the same movement.
Unintentional Or Unconscious Or Automatic: This extra force as compared to the non-actor is to overcome self resistance because whatever an actor does (or say) is NEVER unopposed, but is always carried out after overcoming self resistance to go against himself to please or impress others, driven by emotion or stress. This self resistance, though overcame to initiate the action will reflexively continue to dog that action until it ends ascendant when that action stops. (If self resistance does not end ascendant then the going against oneself action would have continued, inflicting greater harm or stress)
A non-actor performing exactly the same movement is not driven by emotion or stress to go against himself to please or impress others and has no conflict, his mind calm, he can do it with just the necessary force. Where a non actor just passively does or says what he wants to say or do, the actor must intervene, apply force to act out what he wants to say or do.
Another way to explain the extra force needed is that acting is largely unconscious, automatic and constant (never totally ceases in that person) with ever present conflict and tension both in his mind and his musculature. The actor’s muscles are always more tensed (like the sprinter poised on his starter blocks) and that tension can be swiftly escalated whenever the actor is provoked into action. Both at apparent rest and in action, there is constant muscle tension that can be rapidly ratcheted up just as there is mental tension between the forces of going against self to impress and the forces of protective self restrain. It is this agonist-antagonist tension absent in non actors that compels the actor to use more force to accomplish a given motion. It is like the actor performs his task under viscous water whereas the non actor performs the same task in air with much less resistance. Every action by an actor is accompanied by tension that escalates the faster the action is whereas the same action in a non actor is without tension, without escalating tension as he speeds it up.
Similarly, it is possible for a non-actor to speak with the same loudness as an actor and yet use considerably less force and energy as actors. For the same volume, the actor is blasting, with saliva flying from his mouth, his neck and face straining, his body shaking, struggling to retain control. It is possible to say something as loud as the actor but calmly, with total control, mindfully without the body and face shaking and saliva flying.
When Jesus called out from the shore to his disciples on a boat enquiring whether they caught any fish, he may be speaking loudly but using much less force and without harshness than an actor driven by stress and emotion (to show his fabricated anxious concern) would. To the undiscerning, he thinks, Jesus shouts, I also shout, so what is the difference, eh? To the discerning, Jesus can speak just as loud but there is less force, no malice, no stretched syllables, no emotion and harshness as compared to the stressed, harassed actor.
Whereas an actor (always, unconsciously) hollers to impress others with his anxious concern with stretched syllables, “hHaavve youu fFoounNd aAnye fFiiiisshhh???”, Jesus may say with the same loudness, unemotionally, without stretched syllables, “Have you found any fish?”
I can tap a computer keyboard at the same speed as an actor and will ALWAYS use much less force and energy, generating less noise and wearing the keys less compared to an actor trying to demonstrate to himself or anybody watching his prowess. Watch many actors typing and they are literally attacking or stabbing the keyboard.
ACTORS ALWAYS USE EXCESSIVE FORCE MORE THAN IS NEEDED FOR ANY GIVEN MOTION AND SPEECH, WHATEVER THEY DO OR SAY, BE IT ‘MAKING LOVE’ OR JUST THINKING TO THEMSELVES (ACTORS ALWAYS THINK ACTIVELY WITH MORE FORCE THAN NON ACTORS WHO THINK PASSIVELY, UNEMOTIONALLY). THE REASON IS BECAUSE THEIR ACTIONS DO NOT EMANATE OUT OF UNCONFLICTING, UNEMOTIONAL, UNSTRESSED FREE WILL (AS IN NON-ACTORS) BUT THEY ARE ALWAYS DRIVEN BY EMOTIONS, STRESS AND TENSION, ARE ALWAYS GOING AGAINST THEMSELVES IN THE NAME OF PLEASING, IMPRESSING OR INTIMIDATING OTHERS INSTEAD OF DOING OR SAYING IT BECAUSE THEY TRULY WANT TO.
BECAUSE ALL ACTORS’ ACTIONS ARE NOT SIMPLE, FROM THE HEART BUT GOING AGAINST THEMSELVES TO PLEASE, IMPRESS OTHERS, THEIR ACTIONS MUST BE WRACKED FROM BEGINNING TILL END BY EXTRA FORCE (COMPARED TO NON ACTORS) NEEDED TO OVERCOME SELF RESISTANCE TO COMMENCE ACTING AND FORCEFUL SELF RESISTANCE STRUGGLING TO ASSERT ITSELF OVER FORCEFUL GOING AGAINST ONESELF. IN THE END, FORCEFUL SELF RESISTANCE ALWAYS TRIUMPHS OVER GOING AGAINST ONESELF, AT LEAST WHILST THE ACTOR’S VIGOR REMAINS BECAUSE THE ACTION TO GO AGAINST ONESELF WOULD HAVE CONTINUED IF SELF RESISTANCE HAD NOT TRIUMPHED IN THE END.
ALL ACTING TO GO AGAINST ONESELF EG TO PLEASE OTHERS CAN ONLY BE BROUGHT TO AN END WHEN, WITH THE STRESS OF ACTING INEVITABLY BUILDING UP, DOGGED, NEVER GIVE UP SELF RESISTANCE FINALLY OVERTAKES PREVIOUSLY ASCENDANT FORCEFUL GOING AGAINST SELF TO APPLY THE BRAKES AND BRING THAT PIECE OF ACTING TO AN END OR TO A MORE SUSTAINABLE MANNER. ACTORS FAIL TO NOTICE THAT WITH AGE, THIS ULTIMATE ASCENDANCY OF SELF RESISTANCE IS SLOWLY EBBING AND A TIME WILL COME WHEN DOGGED SELF RESISTANCE WILL FINALLY FAIL AND THE ACTOR WILL DROWN IN UNOPPOSED MAD ACTING, RESTLESSNESS AND DEPRESSION.
It is not that actors do not experience stress or that their stress never pushes them to their limits of endurance but many actors feel it is an affront to their manliness or self esteem to succumb to or be defeated by stress. Hence they grit their teeth to bear and even attempt to drive or overpower stress by being more aggressive, lashing out more. This is a graver mistake because they are engraving their stress and warping their minds even more, deepening the hole they have already dug themselves.
The wise person would beat a retreat, seclude and protect himself from further bombardment of stress from others, meditate regularly to erase the habit energy of stress in their minds, to straighten their already warped minds.
WHY SHE IS SOBBING:

WOULD SHE BE SOBBING IF IT WAS NOT HER DAUGHTER IN LAW THAT WAS KILLED? THEREFORE SHE IS LIKELY (FORCEFULLY) WEEPING (AN ACT) MORE FOR HER OWN LOSS THAN SELFLESSLY FOR OTHERS’ SAKES. A SAINT DOES NOT FORCEFULLY WEEP FOR HIMSELF BUT HE MAY (PASSIVELY) CRY (NOT AN ACT) FOR OTHERS’ SUFFERINGS. MOST PEOPLE (EMOTIONALLY) RUSH TO DEFEND THOSE WHO WEEP, WHEN THOSE WHO WEEP MAY BE FAR FROM BLAMELESS AND THEY MAY BE CREATING KARMA, NOT MERIT FOR DEFENDING SIN AND HAVING NO EYE FOR TRUTH.
A LET HIS YES BE YES PERSON DOES NOT CRY LOUDLY, FORCEFULLY OR EXPLOSIVELY, JERKILY, DOES NOT PROLONG IT. HE PASSIVELY SHED HIS TEARS, DOES NOT FORCEFULLY CURTAIL IT NOR PROLONGS IT. WHEN THE FEELING GENERATING TEARS PASSES, THE TEARS STOP ON ITS OWN ACCORD. A BUDDHA CANNOT CRY BECAUSE ALL PASSIONS ARE EXTINCT.
WEEPING IS ALWAYS A FORM OF EXPRESSION OR EXHIBITING, ALTHOUGH INVOLUNTARY. NOBODY ENJOYS WEEPING BUT THEY ALL SUFFER WHEN THEY WEEP. THEREFORE WEEPING IS A FORM OF GOING AGAINST ONESELF OR SELF PUNISHMENT. NOBODY WEEPS VOLUNTARILY BUT WEEPING IS ALWAYS FORCED ON THAT PERSON BY HIS OWN EMOTIONS OVERWHELMING HIS SELF RESISTANCE. HENCE WEEPING IS ALWAYS A FORCEFUL ACT DRIVEN BY EMOTIONS TO GO AGAINST ONESELF TO EXPERIENCE & EXPRESS ONE’S NOW UNCONTROLLABLE SUFFERING (BY WEEPING) IN THE NAME OF INSANELY HURTING ONESELF MORE. THE SINNER IS IN A DILEMMA; TO WEEP IS TO SUFFER, TO SUPPRESS ONE’S WEEPING OR CHIN UP IS EVEN WORSE SUFFERING BECAUSE MENTALLY WARPING REPRESSION IS ADDITIONAL SUFFERING. THE ONLY MEANINGFUL ANSWER IS TO GIVE NO CAUSE FOR FUTURE SUFFERING BY BEING ALWAYS TRUE AND GOOD. YOU CANNOT BE TRUE AND GOOD IF YOU CONTINUE TO ACT, YOU CANNOT SEE THAT YOU ACT AND ARE NICE, NOT GOOD TO OTHERS BECAUSE IF YOU ACT, YOU ARE GOING AGAINST YOURSELF AND ANYONE WHO CONSTANTLY GOES AGAINST HIMSELF WILL WEEP.
She broke down because her daughter in law, a snatch thief victim died. This is actually involuntary unintended acting or act breakdown driven by conflicting emotions that overwhelm the acting person.
She is crying forcefully, fitfully (because of the battle of conflicting emotions inside), driven by emotions not in a matter of fact way, hence she is not blameless. Anyone who harbors emotions is not blameless and to cry forcefully, fitfully too is not blameless.
A matter of fact person may shed tears but for different reasons and in different ways, eg when he sees how recalcitrant and cruel people are, how those who think they are good continue to act and are headed for suffering, he does not cry for himself (she may be crying for herself, for her loss, her attachment to her than the victim’s suffering or fate per se because she is unlikely to sob thus if the victim was unrelated) but he cries for others, not in an emotional or forceful manner but tears flow passively, without conflict, he does not tamper with his crying to prolong it or stifle it. She is not blameless and suffering, just as stoic goats who steel themselves never to cry or display their sorrows are also suffering.
People sob (forcefully) as a result of conflicting emotions in them. Conflict or tension is always a sign of sin, not saintliness. If you always let your yes be yes only, where can conflict or tension arise? If you cannot let your yes be yes only, but must always say more, much more or your yes is no and no is yes, then there will always be conflict and tension.
The emotional grief overwhelms the emotion to be tough it out, to chin up and she bursts into tears but reflexively the tough instinct reasserts to suppress briefly the tears to be again overcome by grief in repeated cycles of breakdown control breakdown control until control finally asserts itself and she reverts to her normal self or act. People don’t sob or cry freely, they sob-stop, sob-stop, sob-stop reflecting the alternate asserting of grief and toughness.
Although not overt, her son is not matter of fact but act consoling her, telling her something. There is in truth nothing much anyone on the sidelines can do for or say to a grieving person. If you forcefully persuade her vocally and physically to stop crying, you are asking her to go against herself, with karma, not merit. Suffice to stand by her side passively supportive, neither feeding her emotions to weep nor discouraging her not to. What she does is none of anybody’s business. How would you feel if you are overwhelmed by grief to weep and someone tells you to stop? Isn’t it better to let her ventilate without making her feel ashamed of herself? Notice his fingers are (forcefully or actively) splayed out reflecting unnecessary style that creates stress. It is less stressful to keep the fingers together but as usual, actors must always do things the hard way, not that they can help it because it is now unconscious.
In this situation, I would merely hold her without arching my body or head towards her, without staring in grief or grimacing, as he is slightly doing. There is actually no need to say anything, which always to be nice, not good for what words will sink in or do any good? The grief must be allowed to run its course. Would a Buddha grieve if his son died? The overwhelming human response is to side with her. I am not against her but I do not side her or anybody grieving. So long as you are attached to this sinful world, holding objects and relations in this world dear, so long will you be detained by grief and you are far from innocent. This is the reason why few people leave this world for heaven; they are thoroughly brainwashed that their sympathetic sorrow for her is good when it is nice. Despite their protestations people believe and hold dear to heart their sorrows and other people’s sorrows.
THERE ARE MANY IN THIS WORLD WHO DO NOT CRY BUT IT IS NOT BECAUSE THEY HAVE NO SORROWS BUT THEY ARE ACTING, SUPPRESSING THEIR SORROWS WHICH HURT THEM JUST AS MUCH. BY SUPPRESSING THEIR SORROWS THEY ARE COMPOUNDING THEIR FUTURE SUFFERING THAT WILL OVERWHELM THEM ONCE THE DAM INEVITABLY BREAKS. ONLY THOSE WHO DO NOT ACT, ARE WITHOUT EMOTIONS, WITHOUT SELF GENERATED CONFLICT TRULY HAVE NOTHING TO WEEP ABOUT NOR A TIME BOMB OF REPRESSED MOUNTING SORROWS TO CONTEND WITH.
The Buddha: "In this manner the world is afflicted by death and decay. But the wise do not grieve, having realized the nature of the world. You do not know the path by which they came or departed. Not seeing either end you lament in vain. Only a fool would harm himself (A noble person or non actor never goes against himself). Yet through weeping the mind does not become calm, but still more suffering is produced, the body is harmed and one becomes lean and pale, one merely hurts oneself. One cannot protect a departed one by that means. To grieve is in vain.
"By not abandoning sorrow one undergoes more suffering. Bewailing the dead he comes under the sway of sorrow. See other men faring according to their deeds! Hence beings tremble when they come into the power of death. Whatever they imagine, it (turns out) quite different from that. This is the disappointment that exists. Look at the nature of the world! If a man lives for an hundred years, finally, he is separated from his circle of relatives. Therefore, one should give up lamenting. Seeing a dead body, one should know, "He will not be met by me again." As the fire in a burning house is extinguished with water, so a wise, should quickly drive away the sorrow that arises, as the wind (blows off) a piece of cotton. He who seeks happiness should withdraw the arrow: his own longings and grief.
"With the arrow withdrawn, unattached, he would attain to peace of mind; and when all sorrow has been transcended he is sorrow-free and has realized Nibbana.
**
Not by sorrowing, not by lamenting,
is any aim accomplished here, not even a bit.
Knowing you're sorrowing & in pain,
your enemies are gratified.
But when a sage with a sense for determining what is his aim doesn't waver in the face of misfortune, his enemies are pained,
seeing his face unchanged, as of old.
Where & however an aim is accomplished
through eulogies, chants, good sayings, donations, & family customs,
follow them diligently there & that way.
But if you discern that your own aim (never to suffer again)
or that of others is not gained in this way,
acquiesce [to the nature of things]
unsorrowing, with the thought:
'What important work (aimed at never to suffer again) am I doing now?'

What she is doing is actually stressful and for show and she is therefore acting. Those who approve in the audience are therefore appreciating an act, with karma not merit. She is forcing herself to suffer to be at the flag draped coffin (symbolism, a form of faith in rites or a fetter to states of woe) and likely to have forced herself to stay to impress the public with her devotion.
A TRUE SAGE IS NEVER A PHILOSOPHER OR POET:
The Buddha said a sage is without sorrow, not because he forces himself to be (an act or denial to impress others) but he is, renouncing all, effortlessly and truly sorrow-less in ways sinners cannot experience.
A person who renouncing all, is without sorrow has nothing to be philosophical or poetic about. A person who has vested interests and is quietly conceited is full of sorrows, has everything to be philosophical and poetic about, they are never ending, like lanes that lead to dead ends and stems from his own folly that he refuses to or cannot see. He secretly relishes a suffering world for him to be philosophical and poetic about.
If you need a second opinion, Jesus said: "I thank thee, Father, Lord of heaven and earth, that thou hast hidden these things from the wise and understanding and revealed them to babes; Father, for such was thy gracious will. All things have been delivered to me by my Father; and no one knows the Son except the Father, and no one knows the Father except the Son and any one to whom the Son chooses to reveal him. Come to me, all who labor and are heavy laden, and I will give you rest. Take my yoke upon you, and learn from me; for I am gentle and lowly in heart (not proud), and you will find rest for your souls. For my yoke is easy, and my burden is light."
How many Christians have read this and still speak of their pride in many things and partake of poetry and philosophy, encourage and set examples for others? Are they heedless or blind or both?
To be spat at is an extreme provocation that causes all ordinary people who are actors to respond either by feeling hurt or urge to retaliate (though they may painfully try to pretend they are not upset). People are provoking others all the time, eg horning loudly repeatedly, speaking in a blasting way or musically in a sarcastic way. Even news that one’s favorite soccer team has lost is provocation for biased actors to react.
Ordinary people are largely helpless to respond, to feel hurt or delight or wish to retaliate when provoked because they are not happy but under tension, even when they appear calm. Their anger or excitement is held close to the surface and once provoked, they rise rapidly by impulse to be expressed.
Only the non-actor, fully in command of his faculties and mind, who has meditated to still his mind, who resides with a composed, calm, clearly thinking mind is buffered from provocations. Whenever he is provoked, he is not forced by impulse to haste to react but he calmly examines the provocation without emotions and usually if not always, he has no trouble choosing not to exit his inner peace to entangle with his provocateurs.
BECAUSE STRESS AND ILL WILL (RESENTMENT) ARE NEVER FAR BELOW THE SURFACE IN ALL ACTORS, THEY ARE ONLY STRESSFULLY CONTROLLED NOT ABSENT, THEY ONLY ACT HAPPY, TOLERANT AND WITH GOODWILL, THEY ARE EASILY, HELPLESSLY UPSET (HURT OR ANGERED) BY PROVOCATIONS BIG OR SMALL TO EXPERIENCE SUFFERING THAT THEY MAY THEN STRESSFULLY TRY TO HIDE.
BECAUSE STRESS AND ILL WILL ARE ABSENT IN NON ACTORS, THEIR MINDS ARE TRULY COMPOSED AND SERENE FROM LACK OF SELF ABUSE, THEY ARE NOT EASILY OR HELPLESSLY UPSET BY PROVOCATIONS TO SUFFER.
Acting and being nice are never good or harmless but always wicked and kills by stress. Even as lovers gaze adoringly into each others’ eyes and swear undying love, they are smiling and being nice, engaged in an elaborate game of deceit they forced themselves with all their might to believe in.
Most people are not forced to act, to be nice but they actively or secretly like to act and be nice to others because they like to suffer and like to see others suffer. They like to kill themselves and they like to kill others by acting and niceness.
The reason they like to suffer and like to kill themselves (coercing others to do the same) is because they have this delusion that their suffering and death, though painful, will always be manageable, once they die, everything will be finished when in truth, their sufferings are cumulative, they are headed for torment they never expect of uncontrollable restlessness, mad, violent impulses and depression and after death, they do not believe they will head for hell and eternal punishment.