Śrīmad-Bhāgavatam 10.77.23
Blended reading (Sanskrit + English inline)
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mānuṣīm prakṛtim
—
human nature
Phrase: mānuṣī (human, feminine) + prakṛti (nature). The technical key. Gauḍīyas insist this is donned, not entered — Bhagavān is nara-līlā-pradarśakaḥ, the displayer of human mood, never its subject.
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prākṛtaḥ yathā
—
like an ordinary man
Phrase: prākṛta (mundane) + yathā (as if). Vyāsa's safety-rail — the comparison admits the appearance of ordinariness and simultaneously denies its reality. Bhagavān grieves yathā — "as if" — not in fact.
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ghṛṇī
—
compassionate
From √ghṛṇ — to feel tenderness, to grieve in pity. The same root produces ghṛṇā. Gauḍīyas note that even the simulated grief of Bhagavān is structured by mercy, not despair.
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snehāt
—
out of affection
Ablative of sneha — sticky love, parent-child affection. The cause Kṛṣṇa names for His own response is sneha, the same emotional category by which Yaśodā binds Him in 10.9. Snehāt is precisely why the play of grief is convincing.
Ghrni here means compassionate.
Though he was Svayam Bhagavān (kṛṣṇaḥ), he was overcome with grief, with the nature (prakṛtim) of a human being. He was feeling compassion for his father. Out of affection, like a material person he spoke to himself.
Hearing this terrible news, Kṛṣṇa — "playing the role of a mortal" — shows sorrow and compassion and speaks like an ordinary conditioned soul. The Lord deliberately puts on the human frame, not because He is bewildered, but because He has accepted the script in which He has a father, and therefore must be seen to grieve for him.
Gauḍīya ācāryas (Viśvanātha, Jīva, Sanātana) read mānuṣīm prakṛtim gataḥ as the technical key to this episode. Bhagavān, who is svayam-sva-bodhaḥ, never actually loses His knowledge — but in narahari-līlā, when He has accepted the human form and the relationship of a son, He must allow the response of a son to play out, or the rasa would be broken.
This is the same Kṛṣṇa who in the next chapter (10.78) easily dispatches Dantavakra. The grief in v. 23 is not bewilderment; it is the precision of an actor too committed to the role to drop it mid-scene, even when the spectator (the demon) believes the actor is real.
My note
Source: vedabase.io