hare muraare madhu kaiTabha haare
gopaala govinda mukunda shaure

* pralaya payodhi jale, dhrutavan asi vedam
vihita vahitra charitram akhedam
keshava, dh^Rta mina sharira, jaya jagadisha hare

% Now Geeta comes in with the last line of the shloka, which is used by
% Jaydev as the refrain, with only the name of the incarnation changing.
% She is constantly singing in the background, if Hemantda is reciting the
% shloka in the foreground. When he stops, she is in the foreground with
% her beautiful voice. Incredible! keshava, dhruta mina sharira, jaya
% jagadisha hare

* chalayasi vikramane, balim adbhuta vamana
pada nakha nira janita jana pavana
keshava, dh^Rta vamana rupa, jaya jagadisha hare

* vitarasi dikshu rane, dik-pati kamaniyam
dasha-mukha mouli balim ramaniyam
keshava, dh^Rta rama sharira, jaya jagadisha hare

* nindasi yajnya vider-ahaha shruti jatam
sadaya hrudaya darshita pashu ghatam
keshava, dh^Rta buddha sharira, jaya jagadisha hare

* mlechcha nivaha nidhane kalayasi karavalam
dhumaketum iva kimapi karalam
keshava, dh^Rta kalki sharira, jaya jagadisha hare


% At the end of the song, there is a great shloka (which is also
% usually song in the bhajan tradition) which is a succinct
% summary of the dasha-avatara (per Jaydev).
% Here is that shloka:

vedan uddharate, jagan-nivahate, bhugolam ud-bibhrate
daityam darayatem balim chalayate, kshatra kshayam kurvate
poulasyam jayate, halam kalayate, karunyam atanvate
mlechchan murchayate, dashakruti krute, Krushnaya tubhyam namaH.