• padā — with her foot
  Instrumental of pāda. The most ornamented foot in Dvārakā now scratches the floor in distress — Lakṣmī's anguished gesture. The Bhāgavatam-poet inventories Lakṣmī-aspects only to undo them, one by one, across vv. 23–24.
• su-jātena — very tender
  Su (well, very) + jāta (born) — exceedingly delicate. The same epithet often used of the Lord's own foot (cf. SB 1.8.43, su-kumāra-tanu). The poet places it on her foot at the moment of her grief — her tenderness becomes the measure of His tease.
• añjana-asitaiḥ — darkened by her eye shadow
  Compound: añjana (collyrium) + asita (black). The detail is precise: kohl-stained tears stain her breasts. The Vaiṣṇava poetic eye refuses abstraction — anguish has color and direction on the body.
• adhaḥ-mukhī — her face downward
  Adhaḥ (down) + mukha (face). The downward face — the iconographic mark of vipralambha-rasa, the mood of separation, in classical Vaiṣṇava poetics. Rūpa Gosvāmī's Ujjvala-nīlamaṇi catalogues this exact gesture.
• ruddha-vāk — her speech checked
  Compound: ruddha (blocked) + vāk (speech). One of the eight sāttvika-bhāvas — svara-bhaṅga. The poet is enumerating them as if from Rūpa Gosvāmī's later list — pre-figuring the analysis Rūpa would give centuries later in Bhakti-rasāmṛta-sindhu.

A wounded bird, alighted on the ground, traces small lines in the dust with its claw — the body keeps moving even when the cry will not come. So Rukmiṇī's foot scratches the floor, tears blacken her breasts, her speech is choked. The body speaks what the throat cannot.