VERSES 9-16:

vṛṣabhānu kulotkīrti vardhikā bhānu-sevikā
kīrtidā khani ratna śrīḥ śrī jita śrīḥ śriyojjvalā (9)
anaṅga mañjarī jyeṣṭhā śrīdāmānandadānujā
mukharā dṛṣṭi pīyūṣa varti naptrī tad āśritā (10)
paurṇamāsī bahiḥ khelat prāṇa pañjara śārikā
subala praṇayollāsā tatra vinyasta bhārakā (11)
vrajeśyāḥ kṛṣṇavat prema pātrī tatrāti bhaktikā
ambā vātsalya saṁsiktā rohiṇī ghrāta mastakā (12)
vrajendra caraṇāmbhoje’rpita bhakti paramparā
tasyāpi prema pātrīyaṁ pitur bhānor iva sphuṭam (13)
guru-buddhyā pralambārau natiṁ dūre vitanvatī
vadhū-buddhyaiva tasyāpi prema-bhūmīha hrī-yutā (14)
lalitā lālitā svīya prāṇoru lālitāvṛtā
lalitā prāṇa rakṣaika rakṣitā tad vaśātmikā (15)
vṛndā prasādhitottuṅga kuḍuṅgānaṅga veśmani
kṛṣṇa khaṇḍita mānatvāl lalitā bhīti kampinī (16)

She increases the great fame of king Vṛṣabhānu’s dynasty, She worships the sun-god, She is a jewel of beauty from the mine named mother Kīrtidā and with Her brilliant beauty She defeats the beauty of the goddess of fortune.

She is the older sister of Anaṅga Mañjarī, the delightful younger sister of Śrīdāma, She is the nectarean wick that illuminates Mukharā’s eyes, and She is Mukharā’s surrendered granddaughter.

She’s the female parrot that plays outside of the cage of Paurṇamāsī’s life-airs, She is delighted by Subala’s love and She has entrusted him with confidential responsibilities.

She is the object of Queen Yaśodā’s love as much as Kṛṣṇa is, She is showered by the motherly love of mother Yaśodā and Her head is lovingly smelled by mother Rohiṇī.

She is constantly devoted to the lotus feet of the king of Vraja (Nanda) and She is the object of his love also, as much as She is the object of Her own father Vṛṣabhānu’s love.

She considers Balarāma to be Her superior and bows down to Him from a distance. Balarāma also considers Her to be His younger sister-in-law and the object of His love. This makes Her very shy.

She is cuddled by Lalitā, surrounded by Lalitā, protected by Lalitā as if She is her own life, and She is controlled by Lalitā’s love. She shivers of fear of Lalitā when Kṛṣṇa manages to break Her pique in the house of Cupid, which is situated in the pleasure-groves maintained by Vṛndā.

Stavāmṛta Kaṇā Vyākhyā:

In this Viśākhānandada Stotram Śrīpāda Raghunātha is completely absorbed in praising the sweetness of the form, qualities and pastimes of Śrī-Śrī Bhānunandinī, who is dearer to him than millions of life-airs.
In this long stava some verses are repeated from previously described works such as “Rādhikāṣṭottara śata nāma stotram” and “Premāmbhoja Marandākhya Stavarāja”, or are only slightly altered.

What has been described in verses 9 to 16 of this stava have all been explained similarly in the Śata Nāma Stotram”.
Normally punar ukti, or repetition, is a fault in Sanskrit composition, but not in this case. Of the six kinds of ascertainments of the purport of scripture, there is one named abhyāsa (practice, or repetition).

It is said:

upakramopasaṁhāra abhyāso’pūrvatā phalam;
arthavādopapatti ca liṅgaṁ tātparya nirṇaye:

“The six kinds of ascertainments of scriptural purports are upakrama, or beginning, upasaṁhāra, end, abhyāsa, repeated practice, apūrvatā, being special or extraordinary, phalam, the ultimate result, arthavāda, glorification and upapatti, being supported by reason.”

The fact that some features of Śrī Rādhikā in this Viśākhānandada stotram are already described in other poems like “Aṣṭottara śata nāma stotram” and “Premāmbhoja Maranda” is a sign that Śrī Raghunātha dāsa Gosvāmī is greatly attached to these features, therefore He repeats them again and again.
However, fearing that the bulk of this book will extend we will not repeat the commentaries on these verses here, and we request the readers to relish this in the Stavāmṛta Kaṇā Vyākhyā of Śrī Śatanāma Stotram.