Śrīmad-Bhāgavatam 10.53.40-41
Blended reading (Sanskrit + English inline)
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mukunda - caraṇa - ambujam
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the lotus feet of Kṛṣṇa
Compound: Mukunda (giver of liberation) + caraṇa (foot) + ambuja (lotus). The threefold name-of-feet is the central object of Gauḍīya meditation. Rūpa Gosvāmī's Stava-mālā repeats this exact image.
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anudhyāyatī samyak
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totally meditating
Present participle of anu-√dhyai + adverb samyak (completely). Dhyāna is the seventh limb of aṣṭāṅga-yoga and a major Gauḍīya limb of bhakti (smaraṇam, SB 7.5.23). Rukmiṇī performs dhyāna while walking — sādhana inside daily life.
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yata - vāk
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maintaining silence
Compound: yata (controlled) + vāk (speech). Mauna-vrata. Gauḍīyas distinguish empty silence (śūnya-mauna) from kṛṣṇa-smaraṇa-mauna; Rukmiṇī's silence is the latter — speech is restrained so that smaraṇa can flow.
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padbhyām viniryayau
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went out on foot
Instrumental dual + perfect verb. She walks to the temple, not in a palanquin — Gauḍīyas read this as the bhakta's humility before the deity: the legs themselves become offerings.
From the city up to the temple complex of Durga, she was protected in a palanquin .She then went four of five prakosthas (fifteen feet) out side the palanquin into the temple, while the guards stood outside in all directions. Mrdanga and conches began to sound.
The details are described in four verses. She (sāḥ), who was endowed with such greatness, went on foot, out of respect, because she was going to see Durgā’ lotus feet. Durgā’s feet are described as lotuses because of the Rukmiṇī’s devotion. “If Rukmiṇī is directly Lakṣmī, why does she have devotion to Durgā?” She was constantly meditating on the lotus feet of Mukunda, endowed completely (samyak) with sweetness, which revealed their softness and other qualities (like jasmine flowers). This indicates that neither she or Kṛṣṇa revealed their greatness at this time. Because she was absorbed in devotion, she was silent. She also walked with devotion (vi—niryayau). Being surrounded by many people indicates that she would be hard to steal and was thus in great anxiety. This shows the seed of experiencing joy on suddenly attaining Kṛṣṇa, which is described later. She was surrounded by persons who had motherly affection (mātṛbhiḥ). She was surrounded by troops because Rukmī was afraid of Kṛṣṇa. They were brave, dressed in armor, and had their weapons raised. These were progressively better means of protecting her. Mṛdaṅgas, paṇavas, and tūryas are drums. Bherīs are wind instruments. Another type of bherī is a drum.
She walks to one temple but her mind walks to the other. Body in the Ambikā procession, mind on Mukunda's feet — the perfect picture of yukta-vairāgya: outer form preserved, inner attention undivided. This is exactly Rūpa Gosvāmī's prescription in Bhakti-rasāmṛta-sindhu: do the world's duties while the heart is fixed elsewhere.
Mīrābāī continued to attend the court of Mewar — to receive her brother-in-law, to follow protocol, to wear the queen's clothes — while her heart sang only kṛṣṇa-nāma. Outwardly the queen of Mewar; inwardly the bride of Giridhara.
Gauḍīyas read SB 10.53.40 as the prototype: Rukmiṇī walks to Ambikā with her mothers and guards, but mukunda-caraṇa-ambujam is what she actually approaches. Mīrā is her direct lineage.
My note
Source: vedabase.io