• ciccheda — He cut
  Perfect of √chid (to cut, split). Will recur in verse 32 when Bāṇa's own arms are cut. The verb carries the chapter's tactile signature: Bhagavān is the cutter of false structures, from bow-strings to arms to ahaṅkāra itself.
• śaṅkham apūrayat — He sounded His conchshell
  Pāñcajanya, blown by Kṛṣṇa at every decisive turn in Mahābhārata and Bhāgavatam. The conch is the auditory mūrti of Bhagavān's voice; its sound is meant to be heard by the relatives back in Dvārakā as much as by the asura on the field.
• yugapat — simultaneously
  The same yugapat Bāṇa used in v. 18 to boast of his simultaneous draw is now used against him. The verse's grammar is the chapter's verdict: whatever the asura claims to do all-at-once, Bhagavān undoes all-at-once.
• sārathim ratham aśvān ca hatvā — having struck down driver, chariot and horses
  The serial list strips Bāṇa of his three supports in succession. Gauḍīyas note: chariot, driver, horses correspond to body, intellect, senses (Kaṭha Upaniṣad 1.3.3) — Bhagavān is dismantling the asura at every layer of the self before sparing the core.

When the master decides the lesson is over, He does not argue point by point — He removes the chalk, the slate, the desk, all at once. Five hundred bows, charioteer, chariot, horses: Kṛṣṇa empties Bāṇa's platform in one breath and blows His conch to mark the silence.