Smaraṇa

śrī-rūpa-darśita-diśā likhitāṣṭa-kālyā

śrī-rūpa-darśita-diśā likhitāṣṭa-kālyā
śrī-rādhikeśa-kṛta-keli-tatir mayeyam |
sevāsya yogya-vapuṣāniśam atra cāsyā
rāgādhva-sādhaka-janair manasā vidheyā ||
(Govinda-līlāmṛta: 23.94)

“This profusion of play performed by Śrī Rādhikā’s Īśa throughout the eight times [of the day] has been written by me following the direction shown [to me] by Śrī Rūpa. Sevā to him [i.e., Śrī Kṛṣṇa] and to her [i.e., Śrī Rādhikā] herein [i.e., within this līlā throughout the eight times of the day, or, here in Śrī Vṛndāvana] is to be performed continuously by sādhakas on the path of rāga with a befitting form within the mind.”

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guru-bhaktyā sa milati

guru-bhaktyā sa milati smaraṇāt sevyate budhaiḥ |
milito’pi na labhyeta jīvair ahamikā-paraiḥ ||
(Brahma-vaivarta Purāṇa; cited in Bhakti Sandarbha: 209)

“One meets [i.e., attains] he who is served by the wise [i.e., Bhagavān] through remembrance (smaraṇa) as a result of bhakti to [one’s] guru [i.e., remembrance of Bhagavān whereby he is served and satisfied develops as a result of bhakti to one’s guru], but even if he [i.e., Bhagavān] is met, he cannot be attained [i.e., he is not truly attained or appreciated] by jīvas who are engrossed in egotism.”

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yaṁ yaṁ vāpi smaran bhāvaṁ

yaṁ yaṁ vāpi smaran bhāvaṁ tyajaty ante kalevaram |
taṁ tam evaiti kaunteya sadā tad-bhāva-bhāvitaḥ ||
(Śrīmad Bhagavad-gītā: 8.6)

“O Kaunteya, whatever object one remembers as one leaves the body at death—exactly that one attains, [on account of] being constantly absorbed in thought of that.”

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puṅkhānupuṅkha-viṣayekṣaṇa-tatparo’pi

puṅkhānupuṅkha-viṣayekṣaṇa-tatparo’pi
brahmāvalokana-dhiyaṁ na jahāti yogī |
saṅgīta-tāla-laya-vādya-vaṁśa-gatāpi
maulistha-kumbha-parirakṣaṇa-dhīr naṭīva ||

(Varāha Upaniṣad: 2.82)

“Even while engaged in observing the objects of the senses, arrow after arrow, the yogī does not give up awareness of seeing Brahman, just as a dancer, even while engaged in [i.e. dancing in] accord with a composition of singing, rhythm, time, and instrumental music, does not give up her awareness of balancing the pot situated atop her head.”

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