• satyabhāmā — Queen Satyabhāmā
  One of Kṛṣṇa's aṣṭa-mahiṣīs in Dvārakā. Gauḍīyas read her as an expansion of Bhū-devī and a partial reflection of Rādhā's pride-bhāva — she is Kṛṣṇa's fiery wife, and her grief here is the door through which Kṛṣṇa enters this whole episode.
• śucā - arpitā — cast into sorrow
  Compound: śuc (grief) + arpita (placed into). Sorrow is described as a place she has been placed — the Bhāgavata's grammar of bhāva: emotion as a region the devotee enters, not a state that arises from inside her.
• tata tāta — father, O father
  The vocative doubled — the sound of a child collapsing into the relationship word itself. Gauḍīyas treat this doubling as a feature of bhāva-language across the Bhāgavatam: Yaśodā cries 'lāla, lāla'; Devakī, 'putra, putra'; Satyabhāmā, 'tāta, tāta'.
• muhyatī — fainting
  Present participle of √muh. The same root from which moha (delusion) is built — but here it is a daughter's grief-faint, not asuric delusion. Bhāgavata distinguishes: moha that closes one to Kṛṣṇa is anartha; the moha of love that drives one toward Kṛṣṇa is bhāva.

• Padaseva Pr SB 10-57-07 Oriya
  His Grace Padaseva Prabhu· Oriya

Satyabhāmā cries 'tāta, tāta!' over her father's body the way a daughter throughout time has cried — and Bhagavān is the husband to whom that cry must be brought. Gauḍīyas read her fainting not as weakness but as the rasa of grief that becomes the seed of consolation only when carried to Kṛṣṇa.