• haraṇam — the abduction
  From √hṛ. The same root as 'Hari' (the remover). The verse's quiet doctrine: 'Hari-haraṇa' — the Remover's removal. What looked like theft is, named correctly, the Lord-of-removal acting per His nature.
• gīyamānam — which was being sung
  Present passive participle of √gai. The pastime is gīyamāna — 'being sung.' Throughout the Bhāgavatam, kīrtana of a līlā IS the līlā's mode of present-tense existence. The past tense of the event becomes the present tense of the song.
• tataḥ tataḥ — all over (lit. there, there)
  Doubled adverb. The song goes 'there and there' — everywhere. Doubling expresses pervasion. Cf. CC Antya 17 where Caitanya's saṅkīrtana fills Navadvīpa, then Bengal, then 'every house, every house.' Pattern repeated.
• rāja-kanyāḥ — the kings' daughters
  Rāja (king) + kanyā (daughter, unmarried girl). The princesses listen with special amazement — Gauḍīya rasa-śāstra reads this as the kanyā-bhāva, the unmarried girl's wonder at romantic possibility, which is one of the seeds of mādhurya-bhakti.
• bhṛśa-vismitāḥ — extremely amazed
  Bhṛśa (excessive) + vismita (astonished). Vismaya is one of the eight primary rasas in Bharata's nāṭya-śāstra (adbhuta-rasa). Vyāsa names it explicitly — the chapter ends on the rasa of wonder, the door to bhakti.

• What deed of Kṛṣṇa would be glorified in your community's song?
• Where could song carry stories more efficiently than recitation?

Kings and princesses listen to the bride-abduction as song — and they marvel. The same event that infuriated Rukmī and frightened Rukmiṇī is, when narrated by Vaiṣṇava singers, a wonder. Kṛṣṇa-līlā does not exist apart from its sung form; the singing IS the līlā's afterlife.