Shloka 16
Trikūṭa Mountain, Ṛtumat Garden, and the Beginning of Gajendra’s Crisis
८.२.१४-१९ बिल्वै: कपित्थैर्जम्बीरैर्वृतो भल्लातकादिभि: । तस्मिन्सर: सुविपुलं लसत्काञ्चनपङ्कजम् ॥ १४ ॥ कुमुदोत्पलकह्लारशतपत्रश्रियोर्जितम् । मत्तषट्पदनिर्घुष्टं शकुन्तैश्च कलस्वनै: ॥ १५ ॥ हंसकारण्डवाकीर्णं चक्राह्वै: सारसैरपि । जलकुक्कुटकोयष्टिदात्यूहकुलकूजितम् ॥ १६ ॥ मत्स्यकच्छपसञ्चारचलत्पद्मरज:पय: । कदम्बवेतसनलनीपवञ्जुलकैर्वृतम् ॥ १७ ॥ कुन्दै: कुरुबकाशोकै: शिरीषै: कूटजेङ्गुदै: । कुब्जकै: स्वर्णयूथीभिर्नागपुन्नागजातिभि: ॥ १८ ॥ मल्लिकाशतपत्रैश्च माधवीजालकादिभि: । शोभितं तीरजैश्चान्यैर्नित्यर्तुभिरलं द्रुमै: ॥ १९ ॥
bilvaiḥ kapitthair jambīrair vṛto bhallātakādibhiḥ tasmin saraḥ suvipulaṁ lasat-kāñcana-paṅkajam
In that sacred grove lay a vast lake, radiant with lotus blooms gleaming like gold, and adorned with kumuda, utpala, kahlāra, and śatapatra flowers that heightened the mountain’s beauty. Around it stood bilva, kapittha, jambīra, bhallātaka and other trees; bees, intoxicated by nectar, hummed, while melodious birds filled the air with sweet song.
Judging from the exhaustive description of the lakes and rivers on Trikūṭa Mountain, on earth there is no comparison to their superexcellence. On other planets, however, there are many such wonders. For instance, we understand that there are two million different types of trees, and not all of them are exhibited on earth. Śrīmad-Bhāgavatam presents the total knowledge of the affairs of the universe. It not only describes this universe, but also takes into account the spiritual world beyond the universe. No one can challenge the Śrīmad-Bhāgavatam’s descriptions of the material and spiritual worlds. The attempts to go from the earth to the moon have failed, but the people of earth can understand what exists on other planets. There is no need of imagination; one may take actual knowledge from Śrīmad-Bhāgavatam and be satisfied.
FAQs
These verses describe a vast, beautiful lake filled with many kinds of lotuses, bees, birds, fish, and turtles, and surrounded by flowering trees and creepers—setting the serene scene for Gajendra’s later surrender to Lord Viṣṇu.
The detailed setting highlights the opulence of material nature and the peaceful life Gajendra enjoyed, making his sudden crisis—and his turning wholeheartedly to the Lord—more striking and spiritually instructive.
It teaches mindful remembrance: seeing beauty in creation can soften the heart, cultivate gratitude, and prepare one to take shelter of God when life unexpectedly changes.