hare murāre madhu kaiṭabh hāre
gopāl govind mukund śhaure
॰ pralay payodhi jale, dhrutavan asi vedam
vihit vahitr charitram akhedam
keśhav, dh^Rt min śharir, jay jagdiśh hare
ṇov ġheet comes in vith the last line of the śhlok, vhich is used by
zaydev as the refrain, vith only the name of the incarntion changing.
ṣhe is constantly singing in the background, if ḥaemantd is reciting the
śhlok in the foreground. When he stops, śhe is in the foreground vith
her beautiful voice. īncredible! keśhav, dhrut min śharir, jay
jagdiśh hare
॰ chalaysi vikramne, balim adbhut vaman
pad nakh nir janit jan pavan
keśhav, dh^Rt vaman rup, jay jagdiśh hare
॰ vitarsi dikśhu rane, dik-pati kamniyam
daśh-mukh mouli balim ramniyam
keśhav, dh^Rt ram śharir, jay jagdiśh hare
॰ nindsi yajny vider-ahah śhruti jatam
saday hruday darśhit paśhu ghatam
keśhav, dh^Rt buddh śharir, jay jagdiśh hare
॰ mlechch nivah nidhne kalaysi karavlam
dhumketum iv kimpi karalam
keśhav, dh^Rt kalki śharir, jay jagdiśh hare
āt the end of the song, there is a great śhlok (vhich is also usually
song in
the bhajan trdition) vhich is a succinct summary of the daśh-avtar
(per
zaydev). ḥaere is that śhlok: vedan uddharte, jagan-nivahte, bhugolam ud-bibhrte
daityam daraytem balim chalayte, kśhatr kśhayam kurvte
poulasyam jayte, halam kalayte, karunyam atanvte
mlechchan murchayte, daśhakruti krute, khruśhnay tubhyam namḥa.