Śrīmad-Bhāgavatam 10.55.33
Blended reading (Sanskrit + English inline)
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sārūpyam
—
the same form
Abstract noun from sa-rūpa (with-the-same-form). Sārūpya is also one of the five mukti-types (sālokya, sāmīpya, sārūpya, sārṣṭi, sāyujya) — to have the Lord's form. Rukmiṇī observes Pradyumna in a state Vaiṣṇavas pray for.
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śārṅga-dhanvanaḥ
—
of the wielder of the Śārṅga bow
Compound: śārṅga (Kṛṣṇa's bow) + dhanvanaḥ (of the wielder, gen.). One of Kṛṣṇa's standard epithets. Rukmiṇī invokes Kṛṣṇa by His warrior-title here, not His husband-title — she is comparing son to father at the level of public identity.
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ākṛtyā-avayavaiḥ
—
in form and limbs
Compound: ākṛtyā (by form, instr.) + avayavaiḥ (by limbs). The pair distinguishes overall silhouette from individual parts. Rukmiṇī checks both global and local correspondence.
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svara-hāsa-avalokanaiḥ
—
in voice, smile, and glance
Compound: svara (voice-tone) + hāsa (smile) + avalokanaiḥ (glances, instr. pl.). Three dynamic features — what the body does in real time. She has compared not only the still iconography but the motion.
The word tu indicates astonishment. She shows how he is exactly like Kṛṣṇa. All of his limbs were similar, with similar height, bodily development and beauty in the body. After he came down from the sky, he moved his feet slight so his gait could be seen. The tone of his voice was understood from his questions to each of the mothers about their identities when he came close.
The word tu indicates astonishment. She shows how he is exactly like Kṛṣṇa. All of his limbs were similar, with similar height, bodily development and beauty in the body. After Pradyumna came down from the sky, he moved his feet slight so his gait could be seen. The tone of his voice was understood from his questions to each of the mothers about their identities when he came close. He was also holding the Śārṅga bow in his hand, or the phrase simply indicates his great courage, and thus his great strength.
'How is it He so resembles my Lord — in form, limb, gait, voice, smile-glance?' Rukmiṇī catalogs the resemblance feature by feature, the way an iconographer would catalog a deity-form. The body's grammar of bodily detail is how she advances toward recognition.
My note
Source: vedabase.io