Text 17: In the Vaikuṇṭha planets the inhabitants fly in their airplanes, accompanied by their wives and consorts, and eternally sing of the character and activities of the Lord, which are always devoid of all inauspicious qualities. While singing the glories of the Lord, they deride even the presence of the blossoming mādhavī flowers, which are fragrant and laden with honey.
Text 18: When the king of bees hums in a high pitch, singing the glories of the Lord, there is a temporary lull in the noise of the pigeon, the cuckoo, the crane, the cakravāka, the swan, the parrot, the partridge and the peacock. Such transcendental birds stop their own singing simply to hear the glories of the Lord.
Text 19: Although flowering plants like the mandāra, kunda, kurabaka, utpala, campaka, arṇa, punnāga, nāgakeśara, bakula, lily and pārijāta are full of transcendental fragrance, they are still conscious of the austerities performed by tulasī, for tulasī is given special preference by the Lord, who garlands Himself with tulasī leaves.
Text 20: The inhabitants of Vaikuṇṭha travel in their airplanes made of lapis lazuli, emerald and gold. Although crowded by their consorts, who have large hips and beautiful smiling faces, they cannot be stimulated to passion by their mirth and beautiful charms.
Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā
The deeds and characteristics of the Lord unfold like spring creepers full of honey and nectar. Or, the spring creepers with blossoming honey and flowing nectar, whose fragrance disturbs the concentration of even those whose minds are steady, sing while dispersing the wind that carries their scent. This shows that even the Lord's associates who experience unparalleled sensual pleasures are still attached to the bliss of devotional service. (17)
The cuckoos sing continuously, while the cātaka bird falls silent only for a moment. This shows that even the birds there are absorbed in the supreme bliss of hearing narrations about Lord Hari. (18)
The mandāra, pārijāta and other heavenly trees, kuraba and tilaka trees, night-blooming lotuses, day-blooming lotuses, nāgakesara - all these fragrant flowers offer their scents in worship when Lord Hari is adorned with tulasī. In that forest where tulasī's austerities are greatly magnified. This indicates that the residents there appreciate good qualities and are not envious. They went to such a Vaikuṇṭha, as stated before. (19)
He further describes Vaikuṇṭha: It is filled with the devotees' celestial airplanes, seen just by bowing to Hari's feet, not attained by karma, made of vaidūrya gems, emeralds and gold, with large waists. Though their faces are beautiful with smiles, they do not arouse lust, pride, etc. in those whose hearts are fixed on Kṛṣṇa through joking and other exchanges. (20)
Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā
In spring, due to the abundance of endless flowers, not only the spring creepers are present then, but he says "or" (yadvā). [Describing] the impurities of the world. Destroying the contamination of the living entities in the universe, and for themselves, destroying the pain of separation from Him. The celestial beings, descending from their airplanes into the lake water up to their necks for enjoyment. Or, climbing the branches of trees touching the water, covering them with their leaves, [inhaling] the fragrance of the honey-laden mādhavī flowers blossoming in the water, their minds fixed on relishing the Lord's pastimes are disturbed, yet they still sing and do not stop singing. Rather, dispersing the wind, [they say]: "O gentle cool breeze full of the fragrance of mādhavī flowers, how do you attempt to attract our minds immersed in the sweetness of the Lord's pastimes? Do you think yourself sweeter than them? Shame on you, fool!" By censuring it like this, it is indicated that the bliss of devotional service is even greater than the bliss of brahman, which is said to be like an embodied form of liberation. (17)
Like the celestial beings, even the birds there are great devotees free from envy, as he says: Pigeons. Now when a narration about Hari begins, we also listen silently - in this way their clamor stops. When the king of bees, the guardian of the forest garland, sings something similar to a Hari-kathā by chance like a worm making marks resembling letters, they make sounds with their wings like "Hari Hari". The meaning is: I don't know what reverence the birds would show if he was directly singing about Hari. The context is that the king of bees, the chief guardian of the forest garland, being extremely dear to the Lord like Garuḍa, naturally sings songs made of those syllables with his wing sounds, which should be understood as Hari-kathā for them. The word "like" indicates similarity to the Hari-kathā performed by His associates, like the sound of a vīṇā. (18)
Arṇa is oleander, punnāga is alexandrian laurel, surakarnīkāra is a kind of flower. When worshipped or struck - "O blessed tulasī, by whose fragrance the Lord is pleased" - they greatly honor her austerities, not their own. This suggests their mental anguish: "When we know of her austerities, we will go from here to the earthly realm and wander there." Thus it is implied that even the residents of Vaikuṇṭha desire birth in the earthly realm, indicating the superiority of the earthly realm over Vaikuṇṭha. The meaning is that they honor [tulasī] greatly, not envy her. Because they are sumanas - of good mind, or in the alternate meaning, flowering trees. Therefore, by [mentioning] "celestial beings", "pigeons", "mandāra", etc., it should be understood that only three types - born from wombs, eggs, and plants - worship Hari there, not the fourth type born from sweat, as it is not described. Moreover, the birds, trees, etc. in Vaikuṇṭha are created by the Lord's will just for beauty, not due to karma, as it will be said in the 8th Canto: "By whom Vaikuṇṭha was created, worshipped by the people, beseeched by Lakṣmī." (19)
After describing the surrounding garden's beauty, he describes the central beauty of Vaikuṇṭha with "that" (tad). Moreover, to show that even the bliss of brahman has no power over those filled with the bliss of devotional service, what to speak of sensual pleasures, he says "whose" (yeṣām). Even they (the women of Vaikuṇṭha), though extremely beautiful, do not arouse lust, pride, etc. in those whose hearts (ātmā) are fixed on Kṛṣṇa, through excellent smiles, glances, and other acts like movements and speech, which fill [Vaikuṇṭha]. (20)
Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā
In the first part, the special quality of only the mādhavī creeper is intended to be described, as only its flowers are useful for the beauty of the forest. Moreover, due to the awkwardness of supplying the word "only" and because it was said that the forest there is like embodied absolute liberation, superior even to the bliss of Brahman due to its supernatural nature, and because it will be said "of that lotus-eyed one, of his lotus feet" etc., the word "broken intellect" should be explained as the swoon of love, like in "Dāruka did not enjoy the bliss of love." This is the way in case of disregarding the breeze. For they are immersed in the joy of singing about the Lord's pastimes, so they do not like to stop that. Thus, "O breeze, intoxicated by the fragrance of mādhavī flowers, gently cool! Why are you creating an obstacle in singing His qualities? Do you consider yourself superior even to the Lord's qualities? Shame on you!" - this verse is simply a reproach. (17)
This king of bees, like Śrī Garuḍa, naturally has wing-sounds in the form of words. By coincidence, that wing-sound itself is imagined as singing, like a lute. That sound should be understood as having the form "Hari Hari". And his kingship over the bees is due to having authority over the forest garland. This is expressed by this verse. (18)
This verse suggests that the conscious residents of that Vaikuṇṭha forest appreciate qualities, thus implying that even its stationary objects are endowed with knowledge and have the nature of existence, consciousness and bliss. (19)
Here, "bowing" is indicative, meaning "by devotion alone". The word "only" is explained as "not attainable by karma etc." The "etc." includes dry knowledge, detachment, austerities, etc. By using the word "Kṛṣṇa" even for the Lord of Vaikuṇṭha, His status as the Supreme Lord Himself is expressed. This should be explained similarly elsewhere too. They did not give rise to lust, but rather, due to their supreme devotion, they only aroused devotion - this is the meaning. (20)
Śrīmad Vīrarāghava Vyākhyā
He describes that same place again in three verses. Where celestial beings mounted on airplanes along with their wives sing about the activities of the Lord who dispels the impurities of the worlds, in that forest of supreme bliss. How do they sing? Though their minds are affected by the fragrance of spring mādhavī flowers blooming in the water, they sing while rejecting the breeze that brings that fragrance. This indicates that even in the presence of objects of enjoyment, means of enjoyment and places of enjoyment, they disregard them, absorbed only in experiencing the Lord's qualities - what to speak of the men residing in that forest. (17)
He describes the Lord-centeredness of even the animals there: The clamor of various birds like doves, cuckoos, cātaka birds, peacocks etc. stops only for a moment when the king of bees loudly sings what seems like a story of Hari. The meaning is that the forest-dwelling doves etc. making noise, upon hearing the bee's sound, think "Is this king of bees singing about Hari? Let us listen" and giving up their own clamor, they attentively listen to just the bee's sound for a moment. (18)
He describes the Lord-centeredness of even the stationary objects in the forest: Mandāra, pārijāta and other fragrant flowers like kunda, atimukta creepers, kuravaka, tilaka trees, night-blooming lotuses, day-blooming lotuses, nāga kesara, arṇa etc., even though fragrant themselves, in that forest where the Lord adorned with tulasī is honored by her fragrance, they praise the austerity of that tulasī, thinking "Even though we are present, the Lord adorned with tulasī honors only tulasī. Ah, seeing the Lord adorned with tulasī as an ornament, her past austerities must have been great!" (19)
Having thus described the forest of supreme bliss, he again describes that realm: That Vaikuṇṭha abode which is filled with devotees' airplanes - what kind of airplanes? Those attained only by bowing at the feet of Hari (by this, devotion preceded by such bowing is indicated), not by those pleased by karma-yoga etc. The women there, whose broad hips are made of transformations of vaidūrya gems etc., whose faces are beautiful with smiles, even while joking etc. do not give rise to the passion born of the quality of rajas. The compound "kṛṣṇātmanām" is a reason-containing adjective - because their minds are fixed on Lord Kṛṣṇa alone, they do not give rise to lust. (20)
Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā
Men accompanied by women, traveling in celestial vehicles, sing about the sins-destroying deeds of the Lord (Hari) that bring peace to the world. Thinking that singing with open mouths is not possible due to the disturbance of senses caused by the fragrance of flowers, he refutes this. Near the water (antarjala), meaning on the shore, even those with disturbed minds due to the scent of spring flowers like mādhavī (spring creeper) blooming nearby, avoiding the fragrant breeze, are of two types - the liberated and non-liberated. The liberated are never deluded by the flower fragrance, while the non-liberated may sometimes be, as stated:
"The liberated in Vaikuṇṭha are of two types - those with authority and those without. The non-liberated may be deluded sometimes, but never the liberated." (17)
Describing when the devotees there get to worship Hari's lotus feet, it says: When the king of bees starts singing Hari's stories in seven musical notes, and doves and other birds join in with prolonged sounds, creating a commotion, thinking this is the time, devotees worship His feet with tulsi leaves and other flowers. Hari, wearing a tulsi garland, removes other flower petals and smells the tulsi, honoring its austerities.
As stated: "All animals and plants in Vaikuṇṭha have knowledge. The non-liberated attain liberation, as their karma is exhausted by rule."
Being liberated through knowledge, the singing and praising by the king of bees, animals, and plants is appropriate. Or when adorned with tulsi, they greatly honor its fragrance. Arṇa is oleander, nāga is ironwood tree, punnāga is Alexandrian laurel. (18-19)
Women with broad hips and smiling faces, with various expressions of gentle laughter and love, did not arouse passion in those whose minds were absorbed in Krishna. Their celestial vehicles filled the place called Vaikuṇṭha. The vehicles are described as made of beryl, ruby, emerald, sapphire and gold, satisfied with just a slight bow to Hari's feet, feeling fulfilled, or satisfied with just moving in Hari's abode. (20)
Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā
He describes it as such. "Vaimānika" etc. "In the middle of water" suggests the beauty and coolness of those gardens. By the fragrance, which resembles the Lord's opulence, reminding of Him, their minds are overcome with supreme bliss, yet they grasp the Lord's qualities and avoid the fragrant breeze. (17)
Dātyūha is a water bird that makes "kaku" sounds mostly in the rainy season. The king of bees is some chief bee in charge of the forest garland, extremely dear to the Lord like Garuda, naturally singing sounds composed of those syllables, understood as narrations about Hari. "Like" indicates similarity to narrations by His associates, like the sound of a vīṇā. (18)
Even plants there have knowledge and praise qualities that please the Lord belonging to others, as stated in "Mandāra" etc. Arṇa is also a type of flower. The deities should be understood as presiding over those plants. (19)
That Vaikuṇṭha is made of emerald. They did not arouse passion, but being supreme devotees, only inspired devotion. (20)
Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā
"Śamala" etc. - Destroying all impurities of souls in the universe, but for themselves alleviating the sorrow of separation from Him. The celestial beings, to produce special musical notes, descend from their vehicles into knee-deep water in the lake. Or climbing branches of trees on the shore that dip into the water and are covered by their leaves, their minds are disturbed by the fragrance of honey-filled mādhavī flowers blooming in the water, interrupting their absorption in relishing the Lord's pastimes. Yet they continue singing without stopping. But they avoid the breeze, as if scolding: "O gently cool breeze fragrant with mādhavī flowers! How dare you try to attract our minds immersed in the nectar-like sweetness of the Lord's pastimes! Do you think you are sweeter than them? Shame on you, fool!" This suggests that even though the garden's fragrances etc. are of the nature of brahmananda as stated before, the bliss of devotion is far superior to brahmananda. (17)
Like the vaimānika (celestial beings), even the birds there are extremely devoted and free from envy, as stated. Pārāvata (pigeons), kapota (doves), anyabhṛta (cuckoos), kokilā (Indian cuckoos), dātyūha known as ḍāhuḳa. The clamor subsides for just a moment, quickly, as if saying "Hey, now a story of Hari is starting, so let's all remain quiet and listen for a while." When the king of bees, as if adorned with the Lord's forest garland, sings something akin to a story of Hari, as if by coincidence, the birds make sounds with their wings in accompaniment. I don't know what kind of respect those birds would show if he were to sing an actual story of Hari. (18)
Like the birds, even the trees there are devoid of rivalry and envy, and are extremely devoted, as stated. Mandāra and pārijāta are special divine trees, kurava is the tilaka tree. Arṇa is a special flower, nāga is nāgakesara. These trees, though having extremely fragrant flowers, when the scent of tulasī worn by Śrī Hari during his forest wanderings is honored, they praise only the austerity of tulasī, saying "Oh tulasī, you are blessed," not their own. This suggests their inner dialogue: "If we know her austerity, then we too should go to the land of Bhārata and perform the same austerity." Thus it is implied that even the residents of Vaikuṇṭha desire birth in the land of Bhārata, indicating the superiority of Bhārata even to Vaikuṇṭha. They greatly honor, meaning they envy. Because they are sumanas (pure-hearted), in the alternate meaning, flowering trees. By pārāvata etc., it should be understood that only three types - born from wombs, eggs, and plants - exist there worshipping Hari, not the fourth type born from sweat, as it is not described. (19)
After describing the surrounding garden beauty, he describes the central beauty of Vaikuṇṭha city with tad iti. Seen through mere devotion of bowing to Hari's feet, not through complete knowledge, actions, etc. Moreover, for those fulfilled by the joy of devotion there, even the bliss of Brahman does not prevail as mentioned before. What then of sensual pleasures, as stated. Even those with large hips and extremely beautiful, whose minds are immersed in Kṛṣṇa, did not arouse desire through their natural excellent smiles, glances, gait, speech, etc. The place is filled with their aerial vehicles. (20)
Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ
In that forest, in the midst of waters, fully blossoming honey-madhavī (spring) creepers full of nectar, their fragrance breaking one's resolve, even they, rejecting the fragrance-carrying breeze, sing of the deeds of the Lord that remove impurities. This shows the superiority of enjoyable objects like fragrances there, the contentment of the enjoyers independent of those, and even greater than that, the joy of devotional activities like singing the Lord's deeds. (17)
In that forest, when the king of bees sings something like a story of Hari, the clamor of pigeons and others stops for just a moment, as if they too become silent listeners of Hari's story for an instant. There anyabhṛta means cuckoos, dātyūha means cātaka birds. (18)
In which forest mandāra and other sumanas (flowers), when the fragrance of tulasī worn by the Lord is honored, greatly honor the austerity of tulasī. (19)
After describing the forest, he again describes Vaikuṇṭha with tad iti etc. Those with large hips, whose faces are adorned with smiles, even they did not arouse desire in them through playful smiles etc. The reason is given in the adjective kṛṣṇātmanām. That Vaikuṇṭha abode is filled with their aerial vehicles. What kind? Seen through mere devotion characterized by bowing to Hari's feet, not attained through karma etc. (20)
Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā
Thus, having established the distinction of that world from all other worlds through its sat-cit-ānanda nature, he states the absence of all faults like delusion etc. in six verses starting with vaimānikā iti. There, women do not cause delusion, animals have no intoxication, even flower-prominent creepers and shrubs have no envy, devotee women do not arouse lust, even Lakṣmī has no anger characterized by pride-based wrath, and greed is established only there, so she has no notion of supreme human goal in herself, but only in the Lord - thus the absence of all faults is stated. First, the natural women, though faulty by nature, are described as focused on the Lord's qualities by abandoning their faults - vaimānikā iti. Vaimānika means gandharvas etc. established solely in aerial vehicles. They are visitors, lacking natural movement ability and convenience, so they are only vaimānika. Their respectful singing is the reason for going there. Salanāḥ means with women. This indicates the possibility of mutual delusion for both. Where they sing the deeds of the husband in Vaikuṇṭha. Those gandharvas etc. belong to Him. By saying "of the husband" it is suggested that singing His qualities is necessary as He sustains both this world and the next. Having stated the self-benefiting nature of singing His qualities, he states its benefit to others - lokasœmalakṣapaṇāni iti. Of that world, or of all, śamala means connection to people on other paths, or eternal; its destruction means causing its dissolution there itself. Those gandharvas worship the Lord's form, so the apsarās are established in them. Gandharvas become so by exhaling fragrance due to yogic ability, by the pṛṣodarādi rule. Apsarās worship the Lord as fragrance itself. Either way, those with women are focused on fragrance. So though their minds are broken by fragrance, rejecting the fragrance-carrying wind which is always supremely worshipable, they sing only His qualities. To show fragrance's faultlessness for being Brahman, he says - antarjala iti. Well-blossoming, spreading form of honey nectar in the midst of water. Mādhavī is a certain creeper, where the divine aspect of spring is established. Its essence is juicy, hence the blossoming honey nature. Therefore the fragrance of such ones is transcendental, lacking connection to earth. So even their natural object of worship is abandoned by them for singing the Lord's qualities, indicating absence of even divine delusion. (17)
Having spoken about gandharvas and apsaras, he now mentions the absence of faults in birds - with "pārāvata" etc. These nine types of birds like pigeons etc. are distinguished by their qualities. Their speech is self-established. Their speech itself is brahman. Their greatness lies in their melodious sounds. That is why in the prātaranuvāka ritual, their utterances come before others, otherwise the speech of the gods would be considered superior in sweetness. Anyabhṛta means cuckoo, dātyūha means cātaka bird, bahī means peacock, and ya is the well-known kalahaṃsa. Since their speech lacks grammar, and in the absence of words and sentences it is just a collection of sounds, it is called inarticulate noise. But in reality, they too sing only the qualities of the Lord. The birds there do not speak of anything else, as that world manifests from pure sattva. Even that noise ceases for a moment when the chief of the bees, the best among bees, sings as if reciting stories of Hari. This indicates that they have no pride in their celestial speech. They consider the bee as their chief, as it has the possibility of proximity to the Lord, and its hair resembles His. Or the chief of bees may be a divine being. Thinking that its speech is in the form of melodious singing, the noise stops. Even though its speech is also inarticulate, knowing that it culminates in melody like their own speech, they stop to ascertain that. When the humming of the bee is in accordance with the Lord's story-singing for a long time in a gentle melody, it is appropriate. From the loud sound, there is generally doubt if it is the Lord's command. (18)
Having spoken about the absence of faults in birds, he now mentions the absence of the fault of jealousy in flower-bearing creepers etc. - with "sandāra" etc. Mandāra is the divine tree, not well-known on earth. Kunda, kurubaka, utpala and campaka are well-known everywhere. Arṇa is known in Kashmir. Punnāga, nāgakesara, bakula and ambuja are also well-known. Pārijāta is like mandāra. These are predominantly flowers with intense fragrance. Even so, when the Lord is worshipped with the fragrance of tulasi which adorns Him, in that Vaikuṇṭha where tulasi performs austerities, all these flowers like mandāra etc. honor her greatly, becoming sumanas (well-disposed). Not just outward respect, but inwardly too, hence they are called sumanas. Through austerities, even the lowly attain greatness. Tulasi is an ornament of the Lord, and the forest garland originates from her. Tulasi was born from nectar, like Lakṣmī. It is inferred that she performed austerities by the Lord's grace. Or grace was on her collective form. She was the daughter of Madhu who became the wife of Jālandhara. The Lord accepted her for slaying Jālandhara. Her chastity was her austerity, or austerity was already established before. The Lord kept her as she was to prevent beauty arising from qualities. In the path of devotion, her greatness is supreme. Thus in three ways - natural, sāttvika and rājasika-tāmasika - having removed their faults and pride, they have accepted unnatural qualities in Vaikuṇṭha. (19)
Now the absence of faults is primarily explained for women, as they are naturally flawed. There, all other women are physical. Lakṣmī is of two types - spiritual related to the world, and divine devoted to the Lord as a form of His bliss. As all three types of women are forms of bliss, natural faults are possible, which are refuted. First he mentions the absence of faults in the Lord's women - with "tatsaṅkulam" etc. That Vaikuṇṭha is filled with celestial vehicles. He states the means of attaining those vehicles - "haripadānatimātradṛṣṭair". Those who have bowed to the Lord's feet to the utmost, seen by them. According to the path of devotion, when there is humility towards the Lord, such vehicles are seen. Or the sixfold devotion of hearing etc. The word mātra indicates the limit. Even without friendship etc., just by devotion up to bowing down, that attainment happens. Or "vaidūryamārakata-hemamayair" states the three types of vehicles. There vaidūrya is like tamas, mārakata like sattva, gold like rajas. As devotees are also of three types, there is threefold attainment. This states that devotees reside in those vehicles there for excessive enjoyment. The women belonging to those vehicles are situated only for enjoyment. "Bṛhatkaṭitaṭā" - they nourish only enjoyment. Natural allurement is stated - "smitaśobhimukhya". Their faces are beautiful with smiles, having such faces. Allurement just by sight is stated. Or the two adjectives are for establishing two rasas. The reason for non-allurement - "kṛṣṇātmanām". They do not create passion in the minds of devotees of the Lord, did not produce desire. It should not be thought they are unskilled in emotions etc., as even with smiles etc. and all emotions like laughter etc. they do not create passion. The greatness of Vaikuṇṭha is only through identity with Kṛṣṇa, as only there do they become identical with Kṛṣṇa (1). In the view that Kṛṣṇa is in their self, faults become non-faults, as those not identical with Kṛṣṇa are absent there. Or mentioning the specific name indicates the cause of passion arising. Then it is only the excellence of Vaikuṇṭha. Even elsewhere that is not a fault, otherwise praising them there would be contradictory. (20)
Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ
On "vaimānikā" - In stating the purport of the six: "There alone" means in the Lord alone. As those on other paths related to the world come now like Sanaka etc., so too Śiva etc. come with their inner circle of attendants, due to connection with that, of the nature of absorption in others. "There or" means in singing alone. "And its rasa" - neuter for the general case. It means sweetness. "Obtained the boon" means obtained by the Lord's grace. (17)
Thus, having spoken of the gandharvas and apsaras, he now mentions the absence of faults in birds - with "pārāvata". These nine, beginning with pārāvata (pigeon), are distinguished by their qualities. Their speech is also naturally accomplished. Their speech itself is brahman. Their greatness lies in the variety of their sounds, which is why they begin even before the speech of the gods in the prātaranuvāka, otherwise the sweetness of the gods' speech would be paramount. Anyabhṛt (cuckoo) is the kokila, dātyūha is the cātaka, bahī is the peacock, and the one known as "ya" is also kokilaḥ (cuckoo). Due to the absence of grammar in their speech, and the absence of words and sentences, it is described as indistinct noise (kolāhala) because it is just a mass of sounds. But in reality, they too sing only of the qualities of the Lord, for the birds there do not speak of anything else, as that realm manifests as a world of pure sattva, allowing for the existence of trees, birds, etc. there. That noise also ceases for just a moment. When the king of bees, the chief bee, sings as if singing of Hari's stories. This indicates that they have no pride in their celestial speech and consider the bee as their leader, due to its proximity to the Lord and the similarity of its hair. Or the leader of the bees is divine. Thinking that his speech will sing with rāga (melody/passion), the noise ceases. Since his speech is also indistinct, knowing it culminates in rāga, it is determined to be like one's own speech. When the bee's sound follows the melody, a gentle rāga is suitable for singing the Lord's stories for a long time. From the loud sound, there is generally doubt if it is the Lord's command. (18)
Thus, having spoken of the absence of faults in birds, he now mentions the absence of the fault of envy in flower-predominant creepers etc. - with "sandāra". Mandāra is the divine tree, not well-known on earth. Kunda, kurabaka, utpala and campaka are well-known everywhere. Arṇa is well-known in Kashmir. Punnāga, nāgakeśara, bakula and ambuja are also well-known. Pārijāta is like mandāra. These flower-predominant plants are very fragrant, yet when the Lord is worshipped with the fragrance of tulasī worn as an ornament, in that Vaikuṇṭha where she alone performed austerities, all the flowers like mandāra etc. greatly honor her, becoming sumanas (of good mind). Not only outward respect, but inwardly too, hence they are called sumanas. For by austerities, even the lowly attain excellence. Tulasī is the Lord's ornament, and the forest garland originates from her. Tulasī arose from nectar, like Lakṣmī. It is inferred that she performed austerities by the Lord's grace. Or in her collective form, she received his grace. For she was the daughter of Madhu who became the wife of Jālandhara; and for killing Jālandhara, he accepted her. Her devotion to her husband was her austerity, or austerity was previously accomplished. To remove the beauty created by qualities, the Lord established her as she was. In the path of devotion, her greatness is supreme above all. Thus it is said that in Vaikuṇṭha, even those of sattvic, rajasic and tamasic natures by these three modes have removed their faults and pride, accepting unnatural qualities. (19)
Now the absence of faults is explained primarily for women, as they are naturally flawed. There, all other women are material. Lakṣmī is of two types - spiritual relating to the world, and divine devoted to the Lord as a form of his bliss. As all three types of women are forms of bliss, natural faults are possible, which are refuted. First he states the absence of faults in the Lord's women - with "tatsaṅkulam". That Vaikuṇṭha is filled with aerial cars. He states the means of attaining those aerial cars - "haripadānatimātradṛṣṭaiḥ". Seen by those who have bowed even slightly to the Lord's feet. By following the path of devotion, on being humble towards the Lord, such aerial cars are seen. Or the sixfold devotion of hearing etc. The word mātra indicates the limit. Even without friendship etc., by the path of devotion up to bowing alone, that attainment occurs. Or "vaidūrya-mārakata-hema-mayaiḥ" states the three types of aerial cars. There vaidūrya is like tamas, mārakata like sattva, and gold like rajas. Due to the three types of devotees also, there are three types of attainment. This states that devotees reside in those aerial cars there for excessive enjoyment. The women belonging to those aerial cars are situated only for enjoyment. "Bṛhatkaṭitaṭā" - They nourish only enjoyment. And enchantment is natural, as stated by "smitaśobhimukhya" - their faces are beautiful with smiles. Enchantment by mere sight is stated. Or the two adjectives are for establishing two rasas. The reason for non-enchantment - "kṛṣṇātmanām". They did not produce passion in the minds of devotees of the Lord, did not generate lust. And it should not be thought that they are unskilled in emotions etc., for even with smiles etc. and all emotions like laughter etc. they did not produce passion. The greatness of Vaikuṇṭha is in being of Kṛṣṇa's nature alone, for there they become of Kṛṣṇa's nature. Or in the view that "those who have Kṛṣṇa in their self", faults are non-faults, as those not of Kṛṣṇa's nature are absent there. Or stating specific names is the cause of passion arising. Then the excellence of Vaikuṇṭha alone occurs. Even elsewhere that is not a fault, otherwise glorification of them there would be contradictory. (20)
Śrī Giridhara-kṛtā Bāla Prabodhinī
Having thus described the incomparable materials for enjoyment there, he now speaks of devotion to the Lord without attachment to those things - vaimānikā iti. The meaning is: Where the celestial beings (vaimānikā) who travel in aerial vehicles, accompanied by their wives, sing about the deeds of their master, the Lord, in the forest or in Vaikuṇṭha, disregarding the breeze that brings the fragrance of the spring madhavī (madhuka) creepers blooming in the midst of waters, whose scent bewilders their minds. Now, one may wonder how they are not affected by lust and other emotions in the presence of women and such fragrant breezes. To address this, he says - lokaśamala. They destroy (kṣapayanti) the impurities (śamalāni) of all people (lokānām), which are the root causes of faults like lust and anger. The idea is that since all faults are eliminated by this alone, there is no possibility of lust etc. arising in them. (17)
Let alone the devotion of men to the Lord, even the birds there are absorbed in the bliss of devotion to the Lord, as he says - pārāvata. Where the clamor of birds like doves etc. ceases for a brief moment when the chief of bees sings loudly as if reciting stories of Hari. The meaning is that the forest-dwelling doves and other birds, making sounds according to their species, upon hearing the humming of the bee, thinking "Is this bee king singing about Hari?", stop their clamor for a moment and become intent on listening to the bee's sound. Anyabhṛtāḥ refers to cuckoos. Dātyūha refers to cātaka birds. Barhiṇa refers to peacocks. (18)
Thus, it is not surprising that birds etc. are devoted to the Lord, since even immobile beings there are devoted to the Lord, as he says with this intention - mandāra. In that Vaikuṇṭha, even the fragrant mandāra and other flowers greatly respect the austerity of tulasī, when the Lord, adorned with ornaments made of tulasī leaves, honors the fragrance of that tulasī. There, mandāra and pārijāta are specific divine trees not known in this world. Kunda is a type of jasmine. Kuravaka is a type of tree with tilaka-like flowers. Utpala blooms at night. Ambuja blooms during the day. Nāga refers to nāgakesara. Arṇa is a specific flowering tree. In the case of describing the forest as in vaimānikā etc., the meaning connects with the previous verse that they went to such a Vaikuṇṭha. (19)
Having thus described the forest called niḥśreyasa, he again describes Vaikuṇṭha itself - tatsaṅkulam. That abode of Vaikuṇṭha is filled with aerial vehicles made of vaidūrya etc. for the devotees of the Lord. How did they obtain such vehicles? To explain this, he says - haripadānatimātradṛṣṭeḥ - obtained merely by bowing to the feet of Hari, the Lord. This indicates devotion alone, meaning they are obtained by devotion to the Lord alone, which is difficult to achieve by other means like karma yoga etc. To show that even those who go there through devotion remain devoted to the Lord and are not attached to sense objects, he says - yeṣām. Women with broad hips and smiling faces do not arouse passion in the minds of those whose selves are absorbed in Kṛṣṇa, even with their smiles and playful words. He gives the reason for this - kṛṣṇātmanām, meaning those whose minds are fixed on Kṛṣṇa, the Lord. The idea is that since the mind is atomic and merged in the Lord, how can lust find any place there? (20)
Hindī Anuvāda
There, celestial musicians sing with their beloveds the sacred pastimes of their Lord, which can burn away the entire mass of people's sins. At that time, the sweet fragrance of the spring mādhavī (honey-suckle) creeper, full of nectar and blooming in the lakes, tries to attract their minds; but they pay no attention to it and even criticize the wind that brings that fragrance. (17)
When the king of bees hums loudly as if singing the stories of Hari, for a short while the clamor of pigeons, cuckoos, cranes, ruddy geese, cuckoos, swans, parrots, partridges, and peacocks stops - as if they too become unconscious in the bliss of that kīrtana (devotional singing). (18)
Seeing that Śrī Hari decorates His divine form with tulasī (holy basil) and gives more respect to its fragrance, the mandāra (coral tree), kunda (jasmine), kuravaka (crimson amaranth), utpala (night-blooming lotus), campaka (magnolia), arṇa (castor), punnāga (alexandrian laurel), nāgakesara (cobra saffron), bakula (Spanish cherry), ambuja (day-blooming lotus), and pārijāta (coral jasmine) flowers there, although fragrant themselves, consider tulasī's austerity to be greater. (19)
That realm is filled with vaidūrya (cat's eye gem), marakatamani (emerald), and golden airships. These are all obtained not by any karmic fruits, but solely by worshipping Śrī Hari's lotus feet. The beautiful women with large hips, even with their gentle smiles and charming jokes, cannot arouse lustful thoughts in the minds of the devotees of Krishna riding those airships. (20)
SB 3.15.17-20
