• anavasthita — unsteady
  An (not) + ava-sthita (settled). The gopīs accuse Kṛṣṇa of being un-fixed — but Gauḍīya commentators (Viśvanātha) note that this is precisely the sākṣāt cause of mādhurya-rasa's depth: His unsteadiness keeps prema in continuous motion.
• kṛta - ghnasya — who is ungrateful
  Compound: kṛta (what was done) + ghna (destroyer). 'One who destroys what was done for Him.' The harshest word the gopīs use — and Gauḍīyas read it as the highest praise in reverse: only the closest devotee can speak this way and not be wrong.
• citra — wonderful
  Lit. 'variegated, painted.' His narrations are kathā-citra — picture-like. The gopīs admit the aesthetic power of His speech even while accusing Him of using it.
• sundara — beautifully
  Beautiful. Modifies smita (smile). The smile is named the way one names a weapon — these gopīs know exactly what undid them and what will now undo the city women.
• smita — smiling
  The famous smile. Rūpa Gosvāmī treats smita as a primary anubhāva in mādhurya — the visible signal that releases the lover's bhāva. The gopīs are diagnosing how the same signal will work on Mathurā's women.
• smara — by lust
  Smara — Kāma, the god of desire. The gopīs project that the city women are 'lust-agitated' (āturāḥ). Gauḍīyas distinguish carefully: gopī-prema is kāma-rūpā but uncoupled from svārtha — same surface, opposite substance.

• What lament in my prayer life might actually be a form of intimacy with God?
• Where am I afraid to bring honest complaint into my conversation with Kṛṣṇa?

A jilted lover, hearing that her beloved is now a celebrity in the capital, exclaims: 'how can those clever city women possibly trust him?' — and answers her own question in the next breath: 'oh, they believe him because of how he smiles.' She knows the smile. She named it.