• saṁrabdhau — furious (dual)
  Past participle dual of sam + √rabh, 'utterly inflamed.' Both warriors are in identical rage — the grammar's dual form mirrors their identical posture in the duel-circle. There is no asymmetry yet for Balarāma's eye to read, which is exactly the problem the next verse will name.
• maṇḍalāni vicitrāṇi — artistic circles
  Phrase: maṇḍala (circle) + vicitra (varied, beautiful). The technical term for the footwork patterns of gadā-yuddha. The verse pauses to admire the technique — even at the end of the war, the art the Lord taught is being executed with grace. The aesthetic recognition is what makes the upcoming refusal so painful.
• vijaya-eṣiṇau — both seeking victory
  Compound dual: vijaya (victory) + eṣin (seeker). The dual again — both seek the same victory. The Bhāgavatam's grammar refuses to take one side. Balarāma will speak from inside that grammatical symmetry.
• gadā-pāṇī — with clubs in their hands (dual)
  Compound dual: gadā (club) + pāṇi (hand). Bhīma and Duryodhana are named first by their weapon, not their party. Inside the duel-circle, faction has already collapsed; only the two clubs remain. Balarāma will address what the circle actually contains, not what each man's banner once said.

• What fight in my circle deserves a direct, named address?
• Where am I being indirect when straight speech is owed?

Two club-fighters circling each other in artistic patterns — maṇḍalāni vicitrāṇi — is the picture of trained gadā-yuddha at its most beautiful, and the picture of two brothers' grief at its most disfigured. The art the Lord taught them has become the form of their mutual hatred. Balarāma watches a moment, lets the circle complete, and then speaks.