Cc Adi 1.15
jayataṁ suratau-paṁgor mama-manda-mater gati
I am crippled, and my mind has become slow,
But they are my best friends, and their lotus-like feet
Are everything to me.
May the sweetly romantic couple,
The word Suratau means a dearly beloved. In the sense that it applies to the author, it means “best friend.” In the sense that it applies to the divine couple it means “sweetly romantic.”
The author Krishnadās Kavirāja was extremely old when he wrote this. He is not being flowery, he really feels that he has become crippled and his mind has become slow – but is so greatful that Śrī Śrī Rādhā Krishna still dance within his heart, and that he has not lost the sense of absolute dedication to and adoration for their smallest qualities and needs (“lotus-like feet”)
श्रीमद्राधा श्रीलगोविन्ददेवौ प्रेषठालीभः सेव्यमानौ स्मरामि।।
dīvyad-vṛndāraṇya-kalpa-drumādhaḥ śrīmad ratnāgāra-siṁhāsana-stau
śrīmad-rādhā-śrīla-govinda-devau preṣṭhālībhiḥ sevyamānau smarāmi
My thoughts dwell on
Seated on a couch
In a cottage of beautifully opulent jewels,
Beneath a wishing-tree
In the effulgent forest of Vṛnda,
Lovingly attended by their dear friends.
“Smarāmi” – this means I remember, I contemplate. We should contemplate Śrīmad Rādhā-Govindadevau in this way… they are on an opulent couch (siṁhāsana – or you can see it as a throne). The couch is in a cottage / bower (āgāra) made of beautifully opulent (śrīmat) jewels (ratna). Where does all this costly material come from? It is at the base of a wish-fulfilling tree! (kalpa-druma-adhaḥ) in divine/effulgent (dīvyat) Vṛndāvana.
They are being lovingly attended (sevyamānau) by their dear friends / sweethearts (preṣṭhālībhiḥ). That can be our “point-of-entry” in this meditation.
śrīmān rāsa-rasārambhī vaṁśī-vaṭa-taṭa-sthitaḥ
karṣan veṇu-svanair gopīr gopīnāthaḥ śriye 'stu naḥ
May we be blessed
As the sounds of his flute
Collect all the Gopīs
And bring them to him,
Standing beneath the Flute-tree on the riverbank
Thus declaring the commencement of the Rāsa Dance
We should adopt the authors point of view. Thus we should want to be blessed by Gopīnātha. What sort of blessing is that? It is none less than the bblessing to participate in the Rāsa Dance!
We want to be blessed with the opportunity to be a Gopī whose heart is forcibly dragged by the flute song out to the riverbank, to meet Krishna beneath the tree where he plays his enchanting song and is about the begin the Rāsa dance. The rāsa dance is "Rāsa-rasa" - In other words, Gopīnatha is above to begin enjoying the ecstatic mellows (rasa) of the Rāsa-līlā (rāsa).
We want to be blessed by this Krishna: Gopīnātha, the enjoyer of Gopīs, who is about to call us to his festival.
Considering the three poems together, you'll find that the first to Madana Mohan expresses the beginning of a relationship with Krishna - the establishment of a friendship with the Divine Couple, even from the limited and crippling state of material existence. Then you will notice that the second poem calls us to engage in the loving service of the Divine Couple. And the third poem defines the blessing of doing so: to participate in Gopīnātha-Krishna's Rāsa Līlā.
Therefore the three deities are addressed by Śrīla Krishnadās Kaviraja as representing each of the three phases of philosophy: Madanmohan, in the first verse, represents sambandha-tattva - wherein we establish our relationship with the Divine Couple. Govindadeva, in the second poem, represents abhideya-tattva - wherein we practice loving service to the Divine Couple. Gopīnātha, in the third verse, represents prayojana-tattva - the desired objective of our loving service: to love Krishna in the height of his pleasure. To participate in the highest expression of loving service - which occurs at Rāsa-līlā.
These topics are infinitely more profound than either the speaker or the listener realizes. It is our greatest fortune to even be able to touch the external letters of these three poems. We have recieved this fortune by the mercy of Śrī Guru. Hare Krishna.