• cāṇūraḥ muṣṭikaḥ kūṭaḥ — Cāṇūra, Muṣṭika, and Kūṭa
  Three of the five wrestlers. Cāṇūra is Kaṁsa's chief malla; Muṣṭika (lit. 'one with a fist'), Kūṭa (lit. 'hammer'). Gauḍīya commentators note that the names themselves describe their tools — bodies turned into weapons. They will fall in chapter 44.
• śalaḥ tośalaḥ — Śala and Tośala
  Two more wrestlers, named. Gauḍīya note: the Bhāgavata lists all five — Cāṇūra, Muṣṭika, Kūṭa, Śala, Tośala — because every demon defeated by Kṛṣṇa receives a name in the text; namelessness is reserved for those of no consequence to līlā.
• praharṣitāḥ — enthused, delighted
  Past participle of pra + √hṛṣ — to bristle with delight. They are exhilarated by the music. Gauḍīya: praharṣa is here in tāmasic register — joy at one's own coming combat; bhakta's praharṣa is at hearing the Lord's name.
• valgu-vādya — pleasing music
  Contiguous compound: valgu (sweet, pleasing) + vādya (music). Bhāgavata's careful aesthetic note — the music is genuinely beautiful. Gauḍīya commentary: the asuric world has its beauties, but they orient the wrong way; the same drum's beat will accompany the wrestlers' deaths.
• upasthānam — on the mat of the wrestling ring
  From upa + √sthā — the place of taking-stance. Bhāgavata's stagecraft. The same root that gives upasthāna for ritual standing — the wrestlers' martial standing is being narrated as anti-pūjā, oriented against Kṛṣṇa.

Five named champions take their assigned spots on the mat to applause — each will be remembered, not for any victory, but for the verse in which they are listed before Bhagavān destroys them. The Bhāgavata's poetry grants them the dignity of being named even as it announces their end.