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.