Compound: dvija (twice-born) + patnī (wife). Brāhmaṇī-saṅga is treated by Gauḍīyas as sādhu-saṅga in adjacent form. Their songs and prayers along the route literally form a kīrtana procession around Rukmiṇī.
gāyantyaḥ—singing and offering prayers
Two present participles. Gāna (singing) and stuti (prayer) are two of the nine limbs of bhakti — kīrtana proper. The wedding procession has, without anyone designing it, become a saṅkīrtana-yātrā.
Triple compound. These are the lineage-singers of royal courts. Gauḍīyas note: the same office Sūta Gosvāmī fills in the SB itself. Even the structure of the procession mirrors the structure of the Bhāgavata's narration.
Behind the bride followed thousands of prominent courtesans bearing various offerings and presents, along with well-adorned brāhmaṇas’ wives singing and reciting prayers and bearing gifts of garlands, scents, clothing and jewelry. There were also professional singers, musicians, bards, chroniclers and heralds.
Purport
Śrīla Viśvanātha Cakravartī explains that from her own quarters up to the temple of Bhavānī, Rukmiṇī went by palanquin and thus was easily protected. Only for the last twelve to fifteen feet, from the palace to the temple area, did she go on foot, with royal bodyguards stationed outside the temple on all sides.
— A.C. Bhaktivedanta Swami Prabhupāda
Gauḍīya Ācāryas
Viśvanātha Cakravartī Ṭhākura
Gauḍīya
Translation
Behind the bride followed thousands of prominent courtesans bearing various offerings and presents, along with well-adorned brāhmaṇas' wives singing and reciting prayers and bearing gifts of garlands, scents, clothing and jewelry. There were also professional singers, musicians, bards, chroniclers and heralds.
Jīva Gosvāmī
Gauḍīya
Commentary
The best citizens came with various gifts and articles of worship (balibhiḥ). The singers sang and the sūtas and others praised (stuvantaḥ). The musicians played instruments (understood but not written in the text).
Behind her, thousands of courtesans bear offerings; brāhmaṇa wives sing, recite, bear garlands, scents, clothing, jewelry. Public ritual is layered with women's labor; female ritual work surrounds the bride.
Reflection Questions
Where do you under-honor women's ritual work in your own community?
What contribution from women might be invisibly carrying your devotional life?
Analogy
A river of music, garlands and women flows behind her — and at the head of the river, one girl walking silent. The procession's noise is the world's; her silence is bhakti's. Gauḍīyas savor the contrast: the louder the sa-puruṣa world around the devotee, the quieter the inner kṛṣṇa-smaraṇa.