Jagat

The word smara in verse 59 is taken by most interpreters as a second-person singular imperative of √smṛ, to remember. The plural imperative was used in the previous verse, however, so I think the plural verb should be carried over to this one. In that case, smara would be taken as a name for Kamadeva (Eros).

It is almost impossible to be entirely  svārasikī  or  mantramayī  in one's  upāsanā . Some aspects of the one have a way of entering into the other. It is impossible for the  līlā  to remain still, since the movement of time no matter how limited is a necessary part of līlā . On the other hand, every verse of any  svārasikī  text like  Govinda-līlāmṛta  is a meditation in itself, a still picture as it were, just as a film is made up of a series of still images.

Murti of Lata Manjari at Gadai Gauranga Kunj. সিদ্ধি লালসা Siddhi Lālasā This is a set of ten songs that comes at the end of Bhaktivinoda Thakur's Gīti-mālikā , published in 1893. The first one of the ten, Kabe gaura-bane , also appears in Śaraṇāgati , another collection. Part II, songs 4-6 Part III, songs 7-10 [১] কবে গৌরবনে :: Sadhana in Gauda Mandal কবে গৌর-বনে সুরধুনী তটে, হা রাধে হা কৃষ্ণ বলে কাঁদিয়া বেড়াব, দেহ সুখ ছাড়ি, নানা লতা তরু তলে (১) kabe gaura-bane suradhunī taṭe, hā rādhe hā kṛṣṇa bale kāɱdiẏā beḏāba, deha sukha chāḏi, nānā latā taru tale (1) In Gauranga's forest, on the banks of the Ganga calling out "Hā Rādhe! Hā Krishna!" when will I wander, weeping, abandoning worldly pleasure beneath the many trees and vines? (কবে) শ্বপচগৃহেতে, মাগিয়া খাইব পিব সরস্বতীজল (কবে) পুলিনে পুলিনে, গড়াগড়ি দিব, করি কৃষ্ণ-কোলাহল (২) (kabe) śvapaca-gṛhete, māgiẏā khaiba, piba sarasvatī-jala puline puline, gaḏāgaḏi diba, kari kṛṣṇa-kol...