Original · Devanagari
॥ अथ अवकाश ७ ॥ ॥ चंचरीक छन्द ॥ नाचत नट नागर सुख सागर उमग्योरी लालन मुख विमल इन्दु मेचक उर चिवुक बिन्दु सखि मुख चष विमल कंज तजि गति विगस्योरी भृकुटि कुटिल चंचरीक थिरकत थिर रसिक लीक गान बिच अलि अलीक तजि ढिग निकस्योरी ॥१॥ कर कर गहि ललिय लाल घूमत गज मत्त माल लचकत कटि ग्रीव चरण हिरि फिरि चलत्योरी अलके ललके कपोल कुंडल हलके कलोल जनु शशि उर रविहिं डोल राहु रवि भूल्योरी ॥२॥ यहि विधि गये सरयू तीर तीर पुंज बन गँभीर पुंज सुमन पुंज भ्रमरि गुंजत जनु ज्योरी जुग तट मणिमय पवित्र चित्रित श्रेणी विचित्र प्रभु मन भव जल सनेत्र करुण रस भरचोरी ॥३॥ नील रतन माणिक जनु सेज शयन माणिक पतु जनु वन भव प्रभु रवि अलि रसन रट रस्योरी सुमति कहति सूरति बलि मरति दिखराउ अचलि रामचरण जग तजि लखु भवन भेषि क्योरी ॥४॥
Fresh English translation
The urbane dancer, ocean of joy, dances in overflowing delight. Lālan's face is a spotless moon, his chest dark, his chin marked; the companions' faces and eyes bloom as stainless lotuses. Crooked brows quiver like bees, and true connoisseurs emerge from false appearances amid the song. Lāḍilī and Lāl clasp hand to hand and turn like a procession of intoxicated elephants, waists, necks, and feet bending as they circle. Curls tremble on cheeks and earrings swing in waves, as though Rāhu and the sun had forgotten enmity and rocked upon the moon's breast. Thus they reach the deep forest-clusters along the Sarayū, where masses of flowers and swarms of bees hum like a living multitude. The two holy, jewelled banks rise in wondrous tiers; the Lord, full of compassion, draws beings from the waters of becoming. Blue jewels and rubies appear as a couch and jeweled covering; in the forest of becoming, the Lord is the sun while bees repeat the syllables of rasa. Good understanding speaks of remembrance, self-offering, and dying into sacrifice; Rāmacaraṇa urges the world-renouncing viewer to behold the divine dwelling in its manifested guise.