Original · Devanagari
अथ लघुमान । राग केदार मूल ताल ॥ करधर बीना बजावै गावै नई नई तानन रामरसिक प्यारीआगैं । लगघट सुरताल भेदनसों उपजै जीवअनुरागैं ॥१॥ तनक तान तजि माननि मुरकी मान मनोरथभागैं । कृपानिवास रास मंडल माँझे भुजभरि हँसिगरलागैं ॥१॥ इति श्रीजानकी मानसंपूर्णं अथ श्रीरामचन्द्रमान लिख्यते रसिको आनंददाता राग अमन तालचार ॥ लालन मान मनोहर छवि धरिबैठे मानभवन मनभावन । प्रियाजू प्रानतें मानउतार्यो धायो कुचघटयुगपावन ॥१॥ नवनि बदन जब चंदसुधा झरयोप धरी द्रुमजीव जिवावन ॥ कृपा निवास
Fresh English translation
Now begins small māna. Rāga Kedāra, mūla tāla: ‘With the vīṇā in hand, Rāma the rasika plays and sings ever-new melodies before his beloved. Subtle divisions of rhythm and melody arise, awakening love in the soul. (1) At a slight turn of the tune, the proud lady abandons māna; the curl of melody fulfills desire. Kṛpānivāsa says: in the midst of the rasa-circle they smile, fill their arms, and embrace at the neck.’ (1) Thus Śrī Jānakī's māna is complete. Now Śrī Rāmacandra's māna is written, giver of delight to rasikas. Rāga Amana, four tālas: ‘The beloved sits in the chamber of māna, bearing a captivating image of proud beauty. Priyājū, dearer than life, casts off her own māna and runs to sanctify the paired vessels of his breast. (1) When the bowed face lets moon-nectar fall, it revives the life of the tree. Kṛpānivāsa—’ [the song continues on the next page].