Shri Ramachandra Kripalu Bhajaman

This stuti is composed by Goswami Tulsidas (1532–1623 CE) and appears in his Vinaya Patrika. In structure it is a bhajan — the devotee addresses his own mind, urging it to worship Shri Ramachandra: “O mind, worship Shri Ramachandra, the merciful.”

Verse 1 opens with the four-fold lotus image — Ram’s eyes, face, hands, and feet are all lotuses; reddened, fresh, opened. He is bhava-bhaya-darunam-haranam — remover of the dread terror of worldly existence.

Verse 2 layers similes: he has the beauty of countless Kamadevas (Kamadeva is the most handsome being in the cosmos); he is dark like a fresh rain-cloud; the yellow silk on his form is like lightning on the cloud. The image is dense and concrete.

Verse 3 strings names: Dina-bandhu (friend of the lowly), Dinesha (lord of suns), Danava-daitya-vamsa-nikandana (uprooter of demon clans), Raghu-nanda (joy of the Raghus), Ananda-kanda (root of bliss), Kosala-canda (moon of Kosala), Dasharatha-nandana (son of Dasharatha).

Verse 4 describes his form in detail — crown, earrings, tilak, ornamented limbs, arms reaching to the knees, bow and arrow in hand, victor over the demons Khara and Dushana.

Verse 5 is Tulsidas’s signature — “Thus says Tulsidas” — and it makes a remarkable claim: this Ram delights even Shankara, Shesha, and the sages. The petition follows: take up dwelling in the lotus of my heart, and crush the wicked ranks of lust and the rest.

Verses 6–8 are drawn from the Ramcharitmanas Bal Kanda, depicting the moment when Sita visits the temple of Gauri before her swayamvara. Gauri (Parvati) blesses her: “The bridegroom your mind has chosen will indeed be yours.” Sita rejoices; her left side throbs (a traditional auspicious omen for women).

The juxtaposition of these two sources — Vinaya Patrika and Ramcharitmanas — gives the aarti its distinctive flavour: cosmic stuti followed by the most tender moment of Sita’s anticipation.

This stuti is from Goswami Tulsidas’s Vinaya Patrika — a collection of 279 verses, all of them devotional songs to Shri Ram. The title means “the petition of humble submission” — Tulsidas presents the work as a patrika (legal petition) submitted at Ram’s court.

Within Vinaya Patrika, “Shri Ramachandra Kripalu Bhajaman” is the most famous and most-sung verse. It has been adopted into:

• Daily aarti at Ram temples across India
• Mangalacharana at Hindu weddings
• Ram Navami, Vijayadashami, Diwali observances
• Pre-recitation invocation at Ram-katha and Ramayana-recitation events

Lata Mangeshkar’s 1986 rendition is among the most beloved devotional recordings in India. Anup Jalota, K. S. Chithra, Hariharan all have well-known versions.

Verse-style — the first five verses are a bhajan-stuti (Tulsidas’s own composition). The last three are drawn from the Ramcharitmanas Bal Kanda — the moment of Sita’s pre-marriage Gauri-puja. The blending of these two sources is itself a Tulsidasian feat.

When

• Daily morning and evening arati
• Ram Navami, Vijayadashami, Diwali
• Wedding mangalacharana — especially appropriate given the Sita-pre-marriage verses at the end
• Before Ram-katha events
• Griha-pravesh and new beginnings

Steps

1. Aarti is sung at the conclusion of the puja — after chalisa or stotra recitation.
2. Prepare the thali with a 5-wick ghee lamp, incense, flowers, and sandalwood.
3. Light the lamp and begin.
4. Rotate the lamp clockwise seven full circles before the murti or image.
5. Keep tala with bell, claps, or conch.
6. Sing in unison as a family.
7. After the aarti, offer flowers (pushpanjali) and circumambulate three times.
8. Close with tulsi prasad, panchamrit, and sweets.

Musical accompaniment

Traditionally accompanied by harmonium, tabla, manjira, dholak, and conch. Modern devotional renditions also use synthesizer and guitar.

Raga

Lata Mangeshkar’s famous version is in raga Bilaval. Versions in raga Yaman Kalyan and raga Desh are also lovely. For evening singing, raga Yaman deepens the bhakti mood.

• Tulsidas’s direct composition — the soul of Ram-bhakti’s supreme poet.
• Most famous verse from Vinaya Patrika — first among 279.
• Continuity with Ramcharitmanas — the closing verses are from Bal Kanda.
• Universal appeal — Tulsidas himself testifies in verse 5 that this stuti delights even Shankara, Shesha, and the sages.
• Heart-installation prayer — “Mama hṛdaya kañja nivāsa kuru” — direct petition for Ram to dwell in the heart-lotus.

Is this an aarti or a stuti?

Originally it is a stuti (eulogy) — a verse from Vinaya Patrika. But its popularity has led temples to adopt it as an aarti at the conclusion of the puja. Both usages are accepted.

Are there only five verses?

The main stuti has five verses (Tulsidas’s own composition with the “bhaja-mana” address). The last three verses are drawn from the Ramcharitmanas and have been added to the singing tradition. Some artists sing only the first five; others sing all eight.

How to teach this to children?

Start with the first line — “Shri Ramachandra Kripalu Bhajaman” — repeated many times. It is the simplest opening. Then add verses one at a time. Children especially love the rhythm of “Kandarpa agaṇita.”

Is there a standard English translation?

Yes. Standard renderings (titled “O Mind, Worship Lord Ramachandra”) are available from Gita Press Gorakhpur and Ramakrishna Mission publications.

Where can I find Vinaya Patrika?

Gita Press Gorakhpur publishes the most authoritative edition — with Hindi commentary. The full 279 verses; an unparalleled resource for devotional study.

Can this aarti be sung in Shiva worship?

Verse 5 mentions “Shankara Shesha”, but the aarti is fundamentally a Ram-stuti and is not used in Shiva worship. For Shiva, Tulsidas’s “Jay Shiv Shankar” or the Sanskrit “Rudrashtakam” is appropriate.

Should the Hanuman Chalisa follow this aarti?

Not strictly required, but highly recommended. Ram-Hanuman worship is a continuous tradition. Following this aarti with “Aarti Kije Hanuman Lala Ki” or the Hanuman Chalisa makes the evening seva complete.

Why are Bal Kanda verses included?

The closing three verses (Sita’s Gauri-puja before her swayamvara) bring a wedding-blessing flavour to the aarti. This is why it is especially apt for Hindu wedding mangalacharana — the joining of Tulsidas’s stuti to the moment of divine wedding-blessing.