• kala - nūpurābhyām — having sweetly sounding ankle-bells
  Kala (gentle, melodic) + nūpura (anklet) + dual. The doubled instrumental — both feet sounding. Gauḍīya kīrtana repeatedly uses nūpura imagery for Rādhārāṇī's approach; here it is Lakṣmaṇā but the rasa-vocabulary is identical.
• kanaka - ujjvala - ratna - mālām — a necklace brilliant with gold and jewels
  Kanaka (gold) + ujjvala (brilliant) + ratna (jewel) + mālā (garland). The mālā she will place around Kṛṣṇa's neck in the next verse. The garland is the active instrument of choosing — Gauḍīya wedding-imagery's central object.
• kauśika - agrye — in the finest silk
  Kauśika (silk) + agrya (foremost). Silk fabrics held first place among Vedic textiles. The detail places her in the highest bridal register — not so the listener admires the dress, but so that the dress, garland, and Lord's neck all align.
• sa - vrīḍa - hāsa — with a shy smile
  Sa (with) + vrīḍā (shyness, modesty) + hāsa (smile). Vrīḍā is one of the eight sāttvika-bhāvas in Gauḍīya rasa-theory — bashfulness as a sign of approaching prema. The smile breaking through the shyness is the bhāva itself in motion.
• kavarī - dhṛta - srak — (her) hair-braid bearing a flower-wreath
  Kavarī (braid) + dhṛta (held) + srak (wreath). The wreath in the hair is the bride's traditional Vedic ornament. Gauḍīya iconography of Rādhā always includes the kavarī — the long braid that Kṛṣṇa Himself sometimes plaits.

• Padaseva Pr SB 10-83-28 Oriya
  His Grace Padaseva Prabhu· Oriya

• Where does false modesty prevent me from telling my own story?
• What joyful moment of mine deserves telling?

Now the bride enters. Anklets soft, silk new, jewelled necklace in hand, hair garlanded, smile shy — the verse is one long ornamental sweep so the listener can see her walking. Lakṣmaṇā paints herself the way a Gauḍīya kīrtanīyā paints Rādhā entering Yāvaṭa: every detail of dress, every step. Bhakti notices the surface because the surface is what touches the Lord.