Śrīmad-Bhāgavatam 10.32.6
Blended reading (Sanskrit + English inline)
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bhru - kuṭim
—
her eyebrows
Compound: bhrū (eyebrow) + kuṭi (curve, knot). The knit eyebrow is the technical sign of māna in Sanskrit rasa-poetics. Rūpa Gosvāmī uses this exact image in Ujjvala-nīlamaṇi to teach what the heroine's face does at this stage.
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prema
—
pure love
The summit term of Gauḍīya theology — the fifth and final stage of the rasa-sopāna (śraddhā → sādhu-saṅga → bhajana-kriyā → … → bhāva → prema). Here it is qualified by saṁrambha (fury): prema saturated past sweetness into intensity. Only gopī-prema reaches this density.
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saṁrambha
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by the fury
From sam-√rabh — to seize forcefully. In rasa-śāstra, saṁrambha names the impetuous component of māna-bhāva. The gopī is not angry at Kṛṣṇa; she is angry inside her love, which is a different thing entirely.
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vihvalā
—
beside herself
From vi-√hval — overwhelmed, agitated. The 33 vyabhicāri-bhāvas of Bharata's Nāṭya-śāstra include āvega (agitation); Rūpa Gosvāmī adopts this as a sign of mature bhāva when the body cannot contain the emotion arriving from within.
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kaṭa - ākṣepaiḥ
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with the insults of her sidelong glances
Compound: kaṭa-akṣa (sidelong glance) + ākṣepa (cast, throw, insult). The kaṭākṣa is the trademark gesture of the loving heroine in Sanskrit poetry — a glance that wounds without weapon. Here it is weaponized affection.
One gopi, arching her brows like a bow, helplessly subject to the anger of love, aimed arrow glances at Krsna, as if to shoot him. "O leader of rogues! You have been completely successful in administering the halahala poison of prema to me. Why are you again approaching me to burn my life airs which have almost left my body already? I can understand very well who you are." This was the mood she revealed as she glanced upon him. She bit her lips, hiding them with her hands, as an expression of anger. This gopi exhibited jealousy (mana), arising from madhu sneha, thinking of Krsna as hers. This gopi was Radha.
Agitated with anger in love, one gopī frowned, bit her lips and glared at him with side-glance as if to injure him. Katākṣepaiḥ stands for katākṣa-vikṣepaiḥ. Nirdaṣṭa is sometimes seen instead of sandaṣṭa. From the context the word śaurim (Kṛṣṇa) is understood. Wanting to injure him shows her great agitation. He was standing with many gopīs of dakṣiṇā sentiments. This gopī of vāmya nature remained at a distance but glanced at him with anger in prema. In seeing him she derived great pleasure. Viṣṇu Purāṇa says kācit bhru-bhaṅguram kṛvtvā lalāṭa-phalakam harim vilokya netra-bhṛṅgābhyām papau tan-mukha-paṣkajam One gopī frowned at Kṛṣṇa with tilaka on his forehead. Seeing him with her bee-like eyes, she drank his lotus face. This illustrates the anubhāva called bibokka. bibboko māna-garvābhyāṁ syād abhīṣṭe’py anādaraḥ || Disrespect towards the lover or articles given by the lover out of anger or pride is called bibboka. Ujjvala-nīlamaṇi 11.52 This gopī also illustrates the anubhāva called lalita. vinyāsa-bhaṅgir aṅgānāṁ bhrū-vilāsa-manoharāḥ | sukumārā bhaved yatra lalitaṁ tad-udīritam || Where there are actions involving movement of the limbs, attractive movement of the eyebrows and tenderness, it is called lalitam. Ujjvala-nīlamaṇi 11.56 This gopī is prakharā, susakhya, and vāma with strong independence.
Agitated with anger in love, one gopī frowned intensely (ābaddhya) and then became confused by that anger. Viṣṇu Purāṇa says kācit bhru-bhaṅguram kṛvtvā lalāṭa-phalakam harim vilokya netra-bhṛṅgābhyām papau tan-mukha-paṣkajam One gopī frowned at Kṛṣṇa with tilaka on his forehead. Seeing him with her bee-like eyes, she drank his lotus face. The gopī looked at him with her frowning glance as if to beat him. There should be a reason why the gopī was angry. She also bit her lip to indicate the anger. Or this is a consequence of prema itself.
One gopī meets Kṛṣṇa with frowning brows, biting her lip, throwing sidelong cuts as if to wound Him. This is māna — the loving anger that is itself a rasa, not a failure of love. The same mouth that sang gopī-gīta now bites itself shut: prema so saturated that it can no longer flow gently and must press out as sweet attack.
Caitanya Mahāprabhu, relishing Rādhā-bhāva in His later years at Purī, would enter long phases of māna — the sulking anger of the heroine whose beloved has stayed away. Svarūpa Dāmodara and Rāmānanda Rāya read Vidyāpati, Caṇḍīdāsa, and Jayadeva to feed Him in those moods.
Gauḍīya rasa-śāstra (Ujjvala-nīlamaṇi, Rūpa Gosvāmī) lists māna among the legitimate vyabhicāri-bhāvas of mādhurya-rasa. The frowning gopī of this verse is the textbook prototype: anger as the highest pressure of love, not its breakdown.
My note
Source: vedabase.io