Ch. 6 The Practice of Dhyāna (Part 2)

This article is part 55 of 143 in the series Jīvana-dharma-yoga

The Advantage of Performing Karma

The idea that the mind becomes pure by performing karma should be examined before acceptance. Even if one is selfish while performing an ordained duty (vihita-karma), its performance by itself can gradually bring about selflessness. Whether it is a spiritual or worldly duty, even if it is done out of selfishness — if it adheres to dharma, its results are two-fold. Firstly, it turns our minds towards the divine; the second is the fulfilment of our objective. Meditation upon the divine does not need any explanation. However, there is one thing to be said about obtaining desires. Performing satkarma is required for everything — whether to procure something desirable or to get rid of something undesirable. More importantly, karma means being in contact with the world. Being in constant contact with the world trains the jīva spiritually or changes it in some way. Even such changes can benefit the jīva. Karmas, akarmas, haste, lack of judgment, profit, loss, passion, hatred, jealousy, obstinacy, separation, disease, and sorrow — these various experiences shake and jolt the jīva, make it drift about, tire it, and finally bring about the realisation of the meagre extent of the value of the world, of the plight of worldly enjoyment, and of human endeavour. We recall Bhartṛhari’s words here —

mātar-medini tāta māruta sakhe tejas-subaṃdho jala
bhrātar-vyoma nibaddha eva bhavatām antyaḥ praṇāmāñjaliḥ
yuṣmat-saṃga-vaśopajāta-sukṛta-sphāra-sphuran-nirmala-
jñānāpāsta-samasta-moha-mahimā līye para-brahmaṇi

Vairāgya-śataka, 100

Bhartṛhari probably realised that his life on earth was coming to an end. He then folded his hands and prayed — "O mother Earth, father Air, friend Fire, cousin Water, O Sky, who protects me like a brother, this is the last prostration to you from me". Why? "Because of your association, I was able to gain puṇya, and because of the puṇya I was able to gain pure, vast and self-effulgent knowledge of the Self.” As we come more and more in contact with the world, our delusions and infatuations are removed. Contact with the world gives us a sense of the true value of different things. Thus, we become detached from our infatuations, one by one. This is the supreme benefit of experience of association with the world. Connection with the world is one of the exercises required for the jīva. The purity of mind that is achieved by this relationship with the world is greater than that obtained by the sixteen saṃskāras. Therefore, karma is a vital instrument. Indeed, karma is synonymous with man.

 Thus, a limit to selfishness is itself set by enjoying the fruit of one’s self-centered actions. Experiencing pleasure is required for the jīva, as is experiencing sorrow. Therefore, the jīva is ripened even by selfish satkarma, performed out of selfish desire. Remembering the divine and new refinement for the jīva — these are the auspicious results of satkarma. The jīva gradually ascends to higher planes of existence through multiple lives by experiencing the fruits of its actions.

Aneka-janma-saṃsiddhas-tato yāti parāṃ gatiṃ॥ BG 6.45

“Thus perfected by many lives, he attains the supreme state.”

One cannot jump to the highest plane, it has to be ascended like a staircase.

Saṃnyāsa is not easy; giving up one’s interests is not easy; giving up saṅkalpa is not easy either. Performing vihita-karma and enjoying worldly experiences through them — this is how one can earn the capacity to experience the supreme reality.

Thus, not just śrauta and smārta karmas, but all worldly duties, all transactions of life, all friendships and relationships, all physical and spiritual lending and borrowing are training for the jīva. Therefore, we can say that karma itself is life.

Atha khalu kratumayaḥ puruṣaḥ
puruṣo vāvayaj’aḥ
krato smara kṛtaggṃ smara

Chāndogyopaniṣad 3.14.1

The above sentences from the Upaniṣads also mean the same. The jīva is karma itself. Karma gives spiritual training to the jīva.

Who can Perform Karma?

Every human being has the freedom to choose the karma that has to be performed, according to his capability and circumstances.

uddhared-ātmanātmānaṃ nātmānam-avasādayet
ātmaiva hy-ātmano bandhur-ātmaiva ripur-ātmanaḥ॥ BG 6.5

If man did not have the above freedom, this saying would have been meaningless. The jīva has the freedom to elevate itself, and the freedom to choose whether or not to perform a certain karma.

Why is a person in this state now? Because he acted in a certain way in the past. One exists because of his karma, the karma that he performed in his past. The certainty that one is responsible for his future is embedded in the statement that one exists because of his karma. If a man deliberates today on what he has to do and not do, and performs only the beneficial duties prudently, his circumstances tomorrow will be excellent. In the eyes of westerners, karma is adṛṣṭa — unseen — some kind of predetermined fatalism about which one can do nothing. They opine that this is a drawback of Vedānta. But we say that it is not a drawback, but a blessing. Who is the master of your life now? You — that is, what you did yesterday. Who will be the master of your life tomorrow? You — that is, what you do today. If yesterday is the master of today, today will be the master of tomorrow. Thus, past, present, and future are continuously and wholly woven together. Therefore, whatever you have to do today, do it right. This is the essence of the statement “uddhared-ātmanātmānaṃ”. A man is the master of his future. This is the main takeaway from this chapter.

Then can we not jump once and jump hard, and take control of our future? That is not possible. Why is this? This is because the burden from the past weighs the jīva down. That burden should first be lightened. The future is endless. Just as the past does not have any beginning, the future does not have any end. The future that you desire will someday be yours. If you work towards being in the presence of the divine, that is also possible.

bahūnāṃ janmanām-ante jñānavān māṃ prapadyate। BG 7.19

If we work towards something in each life, we will obtain true knowledge over time. The meaning is this — the jīva must be trained. We have to have that goal in mind and perform karma that trains the jīva, in every life.

Śama

Now we have agreed that karma is the path to spiritual progress. Is that enough? No.

yogārūḍhasya tasyaiva śamaḥ kāraṇam-ucyate॥ BG 6.3

Śama causes the seeker to be established in yoga.

Śama or tranquility should join karma. Tranquility is possible by meditating on the nature of the Supreme tattva. In a nutshell, karma can train the jīva in a good way, but can also perturb it. The possibility of mental disturbance cannot be escaped even when one is engaged in worship. “You have brought only red flowers today!”, “There is not enough oil for the lamp”, “What have you prepared for the naivedya?” — thus there are many agitations in the mind.

We agreed that karma is transacting with the world. The world does not listen to our words. In a family, a wife may not be able to adjust with the nature of her husband; the husband may not follow his wife’s whims; the children may not listen to both of them; the old men are irritated by everyone. The employer does not care about the difficulties of his employee; the employee does not worry about the employer. Patient colleagues may not be capable; capable colleagues may not be patient. A man who tries to perform karma in such a world faces anxiety and mental anguish at every step. How can we keep the mind content and resolute in such circumstances?

yogasthaḥ kuru karmāṇi saṃgaṃ tyaktvā dhanaṃjaya
siddhya-siddhyoḥ samo bhūtvā samatvaṃ yoga ucyate॥ BG 2.48

How can equanimity be possible when the surroundings are chaotic? The means for that is meditation upon the divine. If the remembrance of the divine is etched firmly in the mind, mental anguish ceases; conflict vanishes; the work we do becomes meaningful. Therefore, the majesty and glory of the divine should always be meditated upon. Then any work done will be completed to perfection. Thus for spiritual upliftment, dhyāna is also as important a means as karma.

Jñāna-vijñāna

jñāna-vijñāna-tṛptātmā kūṭastho vijitendriyaḥ
ukta ity-ucyate yogī sama-loṣṭāśma-kāñcanaḥ॥ BG 6.8

The mind needs two kinds of intellectual wealth to be content. One is jñāna, the other is vijñāna. Jñāna here means the knowledge of the true nature of the ātmā (tattva-jñāna). It is knowledge gained by persistent effort of the intellect — knowledge obtained from reading books and listening to discourses. Vijñāna is experiencing the knowledge gained thus. Vijñāna is the experience of jñāna. One is theory — intellectual pursuit, whereas the other is practice — experiential pursuit. One has to obtain both of these and remain unperturbed by the senses. Such a man is “tṛptātmā”. One who is separate from every attribute of the jīva except the ātmā — such as the body — such a man is “kūṭasthaḥ vijitendriyaḥ”. “kūṭasthaḥ” means existing separately, and changeless like the firm anvil of a blacksmith. As William Wordsworth said about John Milton —

Thy soul was like a star and dwelt apart

London, 1802

The light should mingle with others like that of a star, but the person should stay aloof. As said previously, “padma-patram-ivāmbhasā” — one should be in the world, and yet not attached to it. That is being kūṭastha. Such a man is “yukta” — he is established in yoga. Gold and stone mean the same to him

The Method of Dhyāna

A yogi brings his senses under his control, learns to distinguish between Ātma and anātma and practises it in this world as much as possible, and is at peace.

yogī yuñjīta satatam ātmānaṃ rahasi sthitaḥ
ekākī yata-cittātmā nirāśīr-aparigrahaḥ॥ BG 6.10

“He always unites his mind with the ātmā. He keeps his mind under control. He does not worry about earning or enjoying. He sits alone in a private place and immerses himself in dhyāna, thinking about the nature of the ātmā”.

tatraikāgraṃ manaḥ kṛtvā yata-cittendriya-kriyaḥ
upaviśyāsane yuñjyāt yogamātma-viśuddhaye॥ BG 6.12

Dhyāna should be performed in a clean place. The seat should be firm. It should neither be too high nor too low. The flow of light and wind should not agitate but be calming. Sitting in such a place, one should focus his mind.

It is said that yoga should be practised while sitting. Even the Brahmasūtra says — "āsīnas-sambhavāt" (Brahmasūtra 4.1.7). Why should it not be done while walking? Of course, it can be done while walking if it is possible, but it is not possible! When we are walking, we constantly think about where we step next. If we meditate while lying down, we might fall asleep. We should therefore sit calmly to perform dhyāna. "yatraikāgratā tatrāviśeṣāt" — one should sit wherever the mind can concentrate. A place where the mind is calm and unlikely to wander is the right place for dhyāna.

To be continued...

The present series is a modern English translation of DVG’s Kendra Sahitya Akademi Award-winning work, Bhagavad-gītā-tātparya or Jīvana-dharma-yoga. The translators wish to express their thanks to Śatāvadhāni R Ganesh for his valuable feedback and to Hari Ravikumar for his astute edits.

Author(s)

About:

Devanahalli Venkataramanayya Gundappa (1887-1975) was a great visionary and polymath. He was a journalist, poet, art connoisseur, philosopher, political analyst, institution builder, social commentator, social worker, and activist.

Translator(s)

About:

Engineer. Lapsed blogger. Abiding interest in Sanskrit, religion, and philosophy. A wannabe jack-of-all.

About:

Mother of two. Engineer. Worshiper of Indian music, poetry, and art.

Prekshaa Publications

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...