Śrīmad-Bhāgavatam 10.62.18-19
Blended reading (Sanskrit + English inline)
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vṛṣṇīn
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the Vṛṣṇis
Accusative plural. Kṛṣṇa's own dynasty. Gauḍīyas note: the Lord descends inside a family, and to recognize Him you eventually have to recognize the family — Vasudeva, Devakī, Balarāma, Pradyumna, Aniruddha — His entourage is inseparable from Him.
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rāma-kṛṣṇau
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Balarāma and Kṛṣṇa
Dual compound: rāma + kṛṣṇa. The two brothers always together — Caitanya-caritāmṛta repeatedly notes that wherever Kṛṣṇa is, Balarāma is. Ūṣā's portrait-album, even at the asura-frontier, must carry both.
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lajjitā
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becoming shy
Past participle of √lajj. At seeing Pradyumna, she felt shy — at seeing Aniruddha, she bowed her head. The poet calibrates two shades of lajjā: family-resemblance triggers it; the Beloved Himself confirms it. Gauḍīyas treasure this gradient of lajjā in the gopīs.
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saḥ asau asau iti
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"That's the one! That's the one!"
Demonstrative phrase: saḥ (he) + asau (that one) repeated. The doubled cry of recognition. Gauḍīyas hear in this the same syntactic shape as Mahāprabhu's 'ei se! ei se!' in the Jagannātha temple — recognition outruns grammar.
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smayamānā
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smiling
Present participle of √smi (smiling, blooming). The smile of recognition is itself a bhāva-sign. The pointing finger plus the smile plus the bowed head is the full body-grammar of love arriving at certainty.
Śrīla Viśvanātha Cakravartī gives this further insight: When Ūṣā saw the picture of Pradyumna, she became bashful because she thought, “This is my father-in-law.” Then she saw the picture of her lover, Aniruddha, and cried out in joy.
Citraleakha said, "Among all these men, who is your husband?" Seeing Pradumnya, Usa became embarassed, understanding that he was her father in law. Seeing his son Aniruddha, she repeated twice out of astonishment and joy," This is he. This is he." It is understood that Usa then wrote the words "Aniruddha, the son of Pradumnya" above the picture.
She particularly drew the Vṛṣṇis among the humans. Ūṣā had described as a human (verse 14). Because she also mentioned that he was dark in complexion, she drew Pradyumna since he was a great possibility among them. Seeing his picture Ūṣā was embarrassed because of her nature. Seeing Aniruddha’s picture, she bowed her head in more intense shame. There are different degrees of embarrassment, involving contraction and expansion of consciousness and eyes. She spoke with choked voice (pra—āha). The skilful drawings of Citralekhā and recognition by Ūṣā are not possible anywhere on earth. You should know this since you are lord of the earth, O Parīkṣit (mahāpate).
Like a seeker who, looking at portrait after portrait, finally cries 'this one!' when the face of Kṛṣṇa appears, Ūṣā moves down the album bashful at Pradyumna, head-bowed at Aniruddha. The recognition is not learned — it is awakened. The Lord's family is already known by the heart.
When Mahāprabhu first entered the Jagannātha temple at Purī, He did not stop to ask which deity He was looking at. He cried 'Mora prāṇa-nātha!' — 'my Lord of life!' — and fainted. The recognition was prema's, not the eyes'.
Gauḍīyas read all such moments — Ūṣā at the portrait, Mahāprabhu at Jagannātha, Rukmiṇī at the description from travelers — as the same phenomenon: where prema is, the Lord is recognized through any medium He chooses to come.
My note
Source: vedabase.io