• nanu-kṛṣṇaḥ-aham — indeed I am Kṛṣṇa
  The chapter's most-quoted half-line — 'verily, I am Kṛṣṇa!' Caitanya Mahāprabhu's biographers describe Him manifesting this exact mood at Purī. Gauḍīyas read it not as Advaitin aham-brahmāsmi but as the supreme symptom of viraha-āveśa, where bhāva temporarily speaks in the first person of the Beloved.
• sva-bhujam-nyasya — placing her own arm (on a friend's shoulder)
  Phrase: sva (own) + bhuja (arm) + nyasya (placing). The very gesture verse 27 will later read in Kṛṣṇa's footprints — His arm on Her shoulder. The gopī is re-enacting the gesture they will all soon mourn discovering.
• gatim-lalitām — my graceful movements
  Phrase: gati (gait) + lalita (graceful, charming). Lalita-tribhaṅga — the threefold-bent graceful pose — is Kṛṣṇa's iconographic standard. The gopī claims His tribhaṅga as her own walk; the parody is also an offering.
• tat-manāḥ — with her mind fully absorbed in Him
  Compound: tat (Him) + manas (mind). Bhagavad-gītā 9.34's mat-manā bhava precept lived out by the gopīs — but in a register of intoxication rather than yogic absorption. Same lakṣaṇa, higher rasa.

A novice actor, finally given the lead role, walks the village street announcing 'I am the king! Watch my gait!' — and the villagers, knowing the boy and seeing the king step out of him, applaud both at once. So the gopī, arm slung across her sister's shoulder, declares 'nanu kṛṣṇaḥ aham' — and the others believe her, because love has made it so.