Śrīmad-Bhāgavatam 10.17.19
Blended reading (Sanskrit + English inline)
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mahā-bhāgā
—
the greatly fortunate one
Compound: mahā (great) + bhāgā (share, lot). Yaśodā's lot is to mother Bhagavān. Gauḍīyas read mahā-bhāgya here as the highest possible jīva-fortune — not liberation, but vātsalya-relation to Kṛṣṇa Himself.
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naṣṭa-labdha-prajā
—
having lost and regained her son
Triple compound: naṣṭa (lost) + labdha (regained) + prajā (offspring). The signature epithet of Yaśodā in Canto 10. Each loss-and-recovery rhythm intensifies her bhāva; static possession would not produce the rasa that this loss-recovery does.
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satī
—
the chaste lady
From √as (to be) — 'she who is.' The technical term for a wife of unwavering devotion. Yaśodā's chastity in Gauḍīya reading is not merely marital fidelity but unswerving vātsalya-niṣṭhā: her whole being is single-pointed on her son.
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aśru-kalām-muhuḥ
—
torrents of tears, repeatedly
Compound: aśru (tear) + kalā (stream, portion) + muhuḥ (again and again). Tears not as event but as rhythm. Gauḍīyas catalogue aśrupāta among the aṣṭa-sāttvika-vikāras — the eight bodily signs of authentic bhāva. Yaśodā here exhibits the textbook sign.
Mother Yasoda had regained her son who was almost lost (masta labdha praja). Putting him on her lap she held him to her chest. She could not do this previously because there were many people around.
He again met Yaśodā out of great prema. Yaśodā, more than Nanda (api), was fortunate. What was her good fortune? She regained her lost son because how else could she continue to live (satī)? This shows her special love. Or, she was most excellent because of her natural affection for Kṛṣṇa. Or, she was like this: she constantly shed streams (kalām) of tears, sometimes because of an appearance of grief on remembering what had happened and sometimes because of bliss. Thus there were alternately hot (grief) and cold (bliss) tears.
More than Nanda, Yaśodā was fortunate. She regained her son because she was chaste (satī). Her chastity was previously noted. Or she was most excellent in her affection to Kṛṣṇa. Or she had lost sight of her son and then saw him again, or her son had died and was brought back to lie (naṣṭa-labdha-prajā). In that way she existed (sate). Or she was now (sati) with her son who had become invisible and now was visible. Or she was now (sate) with her son who had been lost from her hand and regained. She shed streams (kalām) of tears constantly, sometimes remembering the past events out of sorrow and sometimes becoming blissful on attaining him.
Yaśodā lifts her recovered son onto her lap and lets the tears run — not from sorrow but from the unbearable mercy of having Him back. The verse compresses the entire vātsalya-rasa cycle into a single line: lost, found, lap, weeping. Bhakti's tears are not failure of composure; they are composure itself in its most native form.
The compound naṣṭa-labdha-prajā ('the mother whose son was lost and regained') is a recurring epithet for Yaśodā across Canto 10. She loses Him to Pūtanā, finds Him; loses Him to Tṛṇāvarta, finds Him; loses Him to Kāliya, finds Him.
Gauḍīyas treat this as the architecture of vātsalya-rasa itself — viraha and milana woven into the mother's daily life. Her capacity to weep without end is the measure of her capacity to love without limit. Cf. mother Śacī in Caitanya-caritāmṛta, who weeps over her absent son Mahāprabhu in exactly the same key.
My note
Source: vedabase.io