Original · Devanagari
निवास मिल रास रस आन मारगवचे ॥४॥ श्री जानकी वल्लभ रासमादिक छके ॥ रमकि रम रम रमत झमकि झुम झुम भमत उमकि ठम ठमनिवर नाग नागनिथके ॥१॥ पगन नूपुर बजें मदन बीना लजै ताल बंधान सुरगान गायनतके ॥ प्रगट नटवर कलनिनचत थई थई ललन हलाने कटि ग्रीवकी पवन लाघवसके ॥२॥ चिबुक तरकर दिये फिरत फिरकानि लिये पर सकुच भुजान हग चपल चहुंदिसचके । सरस सौभग चरित प्रिया प्रीतम करत हरत मनअलि निवास प्रसाद साधन लखे ॥३॥ राग सोरठ मूल ताल ॥ निरततरी रंगभीनें रासमें ॥ मदन गहरू मद महल बिहारी दोउगर बहियां दीन्हे ॥ टेक ॥ उघटत छंदप्रबंधगीत गति नटवर कला प्रवीने ॥
Fresh English translation
[The preceding song concludes:] The companion Kṛpānivāsa meets the rasa of the rāsa; other paths do not please. (4) Jānakī's beloved is intoxicated by the beginningless rāsa. Ramaki, ram-ram: he plays; jhamaki, jhum-jhum: he circles; umaki, ṭham-ṭham: the finest male and female serpents tire before such movement. (1) Anklets sound upon his feet; Love's vīṇā is put to shame as measured tāla and divine song reach their height. The supreme dancer's art appears openly—thaī, thaī—as the beloved sways waist and neck with wind-like lightness. (2) Hands are placed beneath the chin; turning and spinning, the dancers assume modest postures, arms and quick eyes flashing to every side. Beloved and lover enact a charming auspicious play that steals the companions' minds; through Kṛpānivāsa's grace, the practitioner beholds it. (3) Rāga Soraṭh, mūla tāla. The dancer is steeped in color within the rāsa. In Love's deep, intoxicating palace, the two lovers place their arms around one another—refrain. Metered composition, song, movement, and the accomplished supreme dancer's art unfold—[the Soraṭh song continues on the next page].