निश्चय प्रेम प्रतीति ते विनय करें सनमान। तेहि के कारज सकल शुभ सिद्ध करें हनुमान॥ जय हनुमन्त सन्त हितकारी। सुन लीजै प्रभु अरज हमारी॥ जन के काज बिलम्ब न कीजै। आतुर दौरि महा सुख दीजै॥ जैसे कूदि सिन्धु महि पार। सुरसा बदन पैठि बिस्तार॥
In Devanagari, Tamil, Telugu, Kannada, Malayalam and English — with the meaning of every word, and the one syllable most people pronounce wrongly.
Who Bajrang Baan is
Hanuman, invoked in the Bajrang Baan as the wielder of the thunderbolt body and the release of the arrow of devotion, appears here in his most martial and urgent aspect. The text, attributed to Tulsidas and circulating in the same Awadhi-Hindi stream as the Chalisa, addresses him as Bajrangbali—the one whose limbs are adamant—and calls upon him to bind hostile forces, to burn the nests of tormentors, and to stand as the living barrier around the reciter’s life. Unlike the Gayatri’s quiet turning of the intellect or the Chalisa’s expansive catalogue of virtues, the Baan is shaped as a directed missile of praise: each verse tightens the focus on Hanuman’s speed, his roar, his tail of fire, and his refusal to tolerate the enemies of Rama’s servants. The deity who emerges is still the son of Anjana and the wind, yet he is seen through the lens of protective ferocity that the word bāṇa—arrow—itself announces.
The Arrow of Bajrang
The Bajrang Baan is traditionally ascribed to Tulsidas and is understood within folk and Ramanandi circles as a composition formed when the poet required Hanuman’s swift intervention against obstacles that ordinary prayer had not removed. The title itself joins bajra—the adamantine quality of Hanuman’s body, already named in the Ramayana when Brahma and the gods bless the child—with bāṇa, the arrow. The poem therefore imagines praise itself as a projectile loosed toward the deity who is faster than thought. Internal references draw on the Sundara Kanda and the Yuddha Kanda: Hanuman’s leap, his discovery of Sita, his burning of Lanka with his flaming tail, his duel with Kalanemi, and his carrying of the herb mountain. Yet the Baan does not retell these episodes at leisure; it converts them into immediate epithets and commands addressed to the living presence of Bajrangbali. Manuscript and oral traditions vary in length and in the exact sequence of verses, but all versions retain the character of an urgent summons that asks Hanuman to act as both shield and weapon for those who keep Rama’s name. The text thus stands at the fierce edge of the same bhakti that produced the gentler Chalisa.
The mantra, in six scripts
The seed mantra, and the form most devotees chant daily. No initiation is required — it is open to anyone, including a parent chanting for a child.
DevanagariSanskrit & Hindiनिश्चय प्रेम प्रतीति ते विनय करें सनमान। तेहि के कारज सकल शुभ सिद्ध करें हनुमान॥ जय हनुमन्त सन्त हितकारी। सुन लीजै प्रभु अरज हमारी॥ जन के काज बिलम्ब न कीजै। आतुर दौरि महा सुख दीजै॥ जैसे कूदि सिन्धु महि पार। सुरसा बदन पैठि बिस्तार॥
Teluguనిశ్చయ ప్రేమ ప్రతీతి తే వినయ కరేం సనమాన। తేహి కే కారజ సకల శుభ సిద్ధ కరేం హనుమాన॥ జయ హనుమన్త సన్త హితకారీ। సున లీజై ప్రభు అరజ హమారీ॥ జన కే కాజ బిలమ్బ న కీజై। ఆతుర దౌరి మహా సుఖ దీజై॥ జైసే కూది సిన్ధు మహి పార। సురసా బదన పైఠి బిస్తార॥
Kannadaನಿಶ್ಚಯ ಪ್ರೇಮ ಪ್ರತೀತಿ ತೇ ವಿನಯ ಕರೇಂ ಸನಮಾನ। ತೇಹಿ ಕೇ ಕಾರಜ ಸಕಲ ಶುಭ ಸಿದ್ಧ ಕರೇಂ ಹನುಮಾನ॥ ಜಯ ಹನುಮನ್ತ ಸನ್ತ ಹಿತಕಾರೀ। ಸುನ ಲೀಜೈ ಪ್ರಭು ಅರಜ ಹಮಾರೀ॥ ಜನ ಕೇ ಕಾಜ ಬಿಲಮ್ಬ ನ ಕೀಜೈ। ಆತುರ ದೌರಿ ಮಹಾ ಸುಖ ದೀಜೈ॥ ಜೈಸೇ ಕೂದಿ ಸಿನ್ಧು ಮಹಿ ಪಾರ। ಸುರಸಾ ಬದನ ಪೈಠಿ ಬಿಸ್ತಾರ॥
Malayalamനിശ്ചയ പ്രേമ പ്രതീതി തേ വിനയ കരേം സനമാന। തേഹി കേ കാരജ സകല ശുഭ സിദ്ധ കരേം ഹനുമാന॥ ജയ ഹനുമന്ത സന്ത ഹിതകാരീ। സുന ലീജൈ പ്രഭു അരജ ഹമാരീ॥ ജന കേ കാജ ബിലമ്ബ ന കീജൈ। ആതുര ദൌരി മഹാ സുഖ ദീജൈ॥ ജൈസേ കൂദി സിന്ധു മഹി പാര। സുരസാ ബദന പൈഠി ബിസ്താര॥
EnglishRoman transliterationniścaya prema pratīti te vinaya kareṃ sanamāna | tehi ke kāraja sakala śubha siddha kareṃ hanumāna || jaya hanumanta santa hitakārī | suna lījai prabhu araja hamārī || jana ke kāja bilamba na kījai | ātura dauri mahā sukha dījai || jaise kūdi sindhu mahi pāra | surasā badana paiṭhi bistāra ||
“With firm love and trust those who make humble reverent request—Hanuman accomplishes all their fair undertakings; victory to Hanumanta, benefactor of the good; Lord, please hear our petition; do not delay the servant’s task; run swiftly and give great ease; as you leapt across the ocean and entered and expanded inside Surasa’s mouth.”
निश्चय
niścaya — with certainty
प्रेम
prema — love
प्रतीति
pratīti — trust
ते
te — from / with
विनय
vinaya — humility
करें
kareṃ — they make
सनमान
sanamāna — reverence
तेहि
tehi — of that one
के
ke — of
कारज
kāraja — tasks
सकल
sakala — all
शुभ
śubha — auspicious
सिद्ध
siddha — accomplished
करें
kareṃ — makes
हनुमान
hanumāna — Hanuman
जय
jaya — victory
हनुमन्त
hanumanta — Hanumanta
सन्त
santa — of the good / saints
हितकारी
hitakārī — benefactor
सुन
suna — hear
लीजै
lījai — please take / accept
प्रभु
prabhu — lord
अरज
araja — petition
हमारी
hamārī — our
जन
jana — servant / devotee
के
ke — of
काज
kāja — task
बिलम्ब
bilamba — delay
न
na — not
कीजै
kījai — please do
आतुर
ātura — swiftly / eagerly
दौरि
dauri — having run
महा
mahā — great
सुख
sukha — ease
दीजै
dījai — please give
जैसे
jaise — as
कूदि
kūdi — leapt
सिन्धु
sindhu — ocean
महि
mahi — earth / across
पार
pāra — to the far shore
सुरसा
surasā — Surasa
बदन
badana — mouth
पैठि
paiṭhi — having entered
बिस्तार
bistāra — expansion
Aim is the mantra, in a sense. The rest is address and salutation; the seed syllable carries the goddess. Where a practitioner has been given a very short practice, it is often Aim alone.
The syllable people get wrong
In bajraṅga the velar nasal ṅ before ga must be formed at the back of the tongue; reciters often replace it with a simple dental n, yielding “bajranga” that loses the resonant stop proper to the adamantine body the name itself declares.
When Bajrang Baan is chanted
Weekday. Tuesday
Festival. Hanuman Jayanti
Questions
Bāṇa means arrow. In the title it is joined to Bajrang, the adamantine-bodied form of Hanuman, so that the whole name presents the hymn itself as an arrow loosed by or toward the deity whose body is bajra. The metaphor draws on two older images: the weapon that flies straight to its mark, and Hanuman’s own proverbial speed, faster than the mind. Within the Ramanandi and folk reading, the verses are not merely descriptive praise; they are shaped as a projectile of remembrance that travels to Hanuman and returns as his presence. This is why the poem repeatedly asks him to run, to make no delay, and to burn or bind whatever obstructs the servant of Rama. The arrow image also distinguishes the Baan from the Chalisa: where the Chalisa unfolds as a garland of forty verses to be dwelt inside, the Baan is conceived as a single directed act of calling. Manuscript colophons sometimes describe it as a stotra that “strikes” obstacles, keeping the martial sense of bāṇa alive in the way the text is framed even before a single verse is recited.
In the Valmiki Ramayana’s Sundara Kanda, the naga-mother Surasa is sent to test Hanuman as he flies across the ocean. She opens her mouth to swallow him; he expands his form, then reduces himself to the size of a thumb, enters, and exits through her ear or mouth, satisfying the condition of the test while continuing his journey. The Bajrang Baan compresses that entire episode into a single comparative clause—jaise kūdi sindhu mahi pāra, surasā badana paiṭhi bistāra—so that the reciter’s present petition is set beside Hanuman’s proven ability to enter danger, change size, and emerge unharmed. The reference functions as both reminder and request: the same power that outwitted Surasa is asked to move without delay toward the petitioner’s need. By choosing Surasa rather than, for instance, the burning of Lanka, the poem emphasises cunning expansion and contraction over pure force. Hanuman’s intelligence and his bodily mastery appear together, which suits a text that seeks not only strength but the swift, precise removal of obstruction.
Although the Bajrang Baan is filled with images of binding, burning, and striking, every act is framed as service to Rama and protection of Rama’s servants. The opening assertion—that Hanuman accomplishes the fair tasks of those who approach with firm love—sets the condition of prema and pratīti before any martial request is made. Later verses that ask him to destroy dens of tormentors or to silence hostile speech do so inside the identity of the devotee who keeps Rama’s name. The ferocity is therefore never autonomous; it is the ferocity of the guardian who cannot bear injury to the Lord’s people. This keeps the Baan inside the same bhakti horizon as the Chalisa and the Ramcharitmanas, even while its tone is sharper. Commentators note that Hanuman’s adamantine body was itself a boon given so that he could serve Rama without impediment; the Baan simply turns that boon outward toward the obstacles faced by later servants. The arrow flies, yet its target is defined by loyalty to Raghubir, not by independent wrath.
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