The Four Agreements - Deepstash
The Four Agreements

The Four Agreements

Here is what I learnt from The Four Agreements by Don Miguel Ruiz.

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MORE IDEAS FROM The Four Agreements

1/4 Be impeccable with your word.

Speak with integrity, say only what you mean. Avoid using the word to speak against yourself or to gossip about others. Use the power of your word in the direction of love and truth.

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4/4 Always do your best.

Your best is going to change from moment to moment. Under any circumstances, simply do your best and you will avoid self-judgement, self-abuse and regret.

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3/4 Don’t make assumptions.

Find the courage to ask questions and to express what you really want. Communicate with others as clearly as you can to avoid misunderstandings, sadness, and drama.

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2/4 Don’t take anything personally.

Nothing others do is because of you. What they say or do is a reflection of their own reality. When you are immune to the opinions and actions of others, you won't be the victim of needless suffering.

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Don Miguel Ruiz

"Death is not the biggest fear we have; our biggest fear is taking the risk to be alive - the risk to be alive and express what we really are."

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The First Agreement: Be Impeccable With Your Word

“The human is the only animal on earth that pays a thousand times for the same mistake.”

Our beliefs are conditioned by punishment. Whenever we do something wrong, we punish ourselves so as to reinforce the mistake. This is true for all animals of this world. However, we humans take it one step further and punish ourselves over and over again every time we are reminded of the mistake. This is extremely unfair to us, as it causes suffering and decreases our happiness.

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In the Inner Citadel, Hadot applies to Marcus Aurelius’ Meditations his characteristic interpretative approach: treating ancient philosophy as a “way of life” in particular one which provides its students with “spiritual exercises” to enable them to make progress towards wisdom and treating ancient philosophical texts with attention to the “forms of discourse” or constraints of genre, tradition, and audience that affected their production.

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