Dhun-e-Dharti

 Main Sunti Hoon

Roz Sunti Hoon

Dhune Dharti Ke Dhune

Jo Na Hain Suna Maine Kavi

Har Din Naye Saazein Ansune

Main Sunti Hoon

Roz Sunti Hoon 

Dharti Ke Dhune

Main Raheti Hoon Door

Bahut Door Barfile Paharon Se

Main Raheti Door

Bahut Door Regis Stan Ki

Dewane Banzaron Ki Kafile-e-Karavano Se

Main Raheti Hoon Door

Bahut Door Kisi Benam Jangal Ki 

Khusbu Se Bhari Gulistano Se 

Phir Vi  Yeh Sarein Pass Hain Mere

Hamesha Inn Aakhon Ke Samne

Kisi Canvas Mein Rangi Nayi Tasbeer Ke Jaise

Kavi Kavi Bekhayali Mein

Yeh Tasbeerein Mujhse Baatein Karti Hain

Shor Mein Hazaron Ki Bheer Mein

Mujhe Bilkul Ek Anjaan Shaqs

Aur Ek Ajeeb Si Haal Mein Tanha Kar Jati Hain

Yeh Saach Hain Yah Shayad Khayal Hain

Jo Bhi Hain Yeh Meri Jineh Ki Misal Hain

Yeh Khayal Na Hoti Toh Main Kahan Hoti

Yeh Khowab Na Hota Toh Kabki Sou Gayi Hoti

Shayed Inn Tasbeeron Se 

Main Door Kavi Thi Hi Nehi

Meri Hosh-e-Maahol Mujhe

Inn Tasbeeron Se Door Leke Jati Hain

Lekin Woh Dhun Na Jane Roz Kahan Se Aati Hain

Mujhe Baha Ke Le Jati Hain Chup Ke Se

Bahut Mithi Hain Woh Dhun 

Thori Si Shararat Karti Hain

Rukhe Rukhe Bejan Si Panno Mein

Nazakat Ki Narmi Bharti Hain

Yun Toh Zindah Raheti Hoon

Tumhari Dum Se Saashein Bharti Hoon

Dharkan Hain Meri Dhun Hain Tumhari

Yah Khudah Tumhari Mehsus Main

Khuli Aakhon Se Aur Bhandhe Haathon Se

Har Roz Deedar-e-Khowab Mein Karti Hoon

M-e-Z
In Love of Music-of-Nature !! :D <3 <3 <3

Kalpataru -- The Wish Fullfilment Tree ! :D

 

 JANUARY 1st: THE DAY OF SRI RAMAKRISHNA'S SELF-REVELATION

Kalpavriksha  also known as kalpataru, kalpadruma and kalpapādapa, is a mythological, wish-fulfilling divine tree said to fulfill all desires. It was mentioned in Sanskrit literature from the earliest sources onwards. Sage Durvasa meditated under the Kalpavriksha.

The kalpavriksha originated during the Samudra manthan or "churning of the ocean of milk" along with the kamadhenu, the divine cow providing for all needs. The king of the gods, Indra returned with this tree to his paradise.

A kalpavriksha is mentioned in the Sanskrit work Mānāsara as a royal emblem. In Hemādri's work Caturvargacīntama, the kalpavriksha is said to be a tree of gold and precious stones.

One Kalpavriksh is believed to be have been planted by Jagadguru Shankaracharya himself at Jyotirmath, Badrinath, Uttaranchal in the cradle of the Himalayas. It has been preserved and protected by Armed forces by installing a wire mesh around the tree. The unique property of the tree is that it never loses a single leaf by itself, it is evergreen and is said to be emanating the deep seated devotion of Shankaracharya for the Supreme Godhead Vishnu.

Kalpvriksha has many spiritual, religious and environmental values. It's a divine tree on the earth planet. Himalaya Vahini is conducting mass movement to planting the sapling of Kalpvriksha at the all pilgrims like a mission, mission started from Haridwar. Due to planting world's first Kalpvriksha forest at Daksh island Kankhal, now Haridwar has been complete pilgrim. Conveyor of this mission Vijaypal Baghel is planting more and more saplings of this wish fulfiller, spiritual and endangered species around the world as a holy tree. 

         

  'Kalpataru' is a tree that finds mention in Hindu mythological texts as the wish-fulfilling tree!!! In fact, it is a very rare species of trees.

According to a report in Ranchi Express, there are only five alive 'kalpataru' trees in the world. Four of them are in Ranchi, located near Doranda college. It is sad how ignorant we are that these trees stand so neglected. Even if they are not the mythological ‘kalpatarus’, they are definitely very old, historical trees, which must have seen generations of Ranchi. Indeed, they need attention.
 
By: Dr Himanshu.

"'I shall make the whole thing public before I go,' the Master has said some time before. On January 1, 1886, he felt better and came down to the garden for a little stroll. It was about three o'clock in the afternoon. Some thirty lay disciples were in the hall or sitting about under the trees. Sri Ramakrishna said to Girish (Ghosh), 'Well Girish, what have you seen in me, that you proclaim me before everybody as an Incarnation of God?' Girish was not the man to be taken by surprise. He knelt before the Master and said with folded hands, 'What can an insignificant person like myself say about the One whose glory even sages like Vyasa and Valmiki could not adequately measure?' The Master was profoundly moved. He said: 'What more shall I say? I bless you all. Be illumined!' He fell into a spiritual mood. Hearing these words the devotees, one and all, became overwhelmed with emotion. They rushed to him and fell at his feet. He touched them all, and each received an appropriate benediction. Each of them, at the touch of the Master, experienced ineffable bliss. Some laughed, some wept, some sat down to meditate, some began to pray. Some saw light, some had visions of their Chosen Ideals, and some felt within their bodies the rush of spiritual power."

From the Introduction to THE GOSPEL OF SRI RAMAKRISHNA,
by Swami Nikhilananda

"Those words words of profound blessing, untouched by the slightest tinge of selfishness, directly entered the devotees' hearts where they raised high billows of bliss. They forgot time and space, forgot the disease of the Master and forgot their previous determination not to touch him till he recovered, and had the immediate feeling that sympathizing with their misery, and heart overflowing with compassion, had come down to them from heaven and called them affectionately to Him for protection, like a mother sheltering her children against all ills."

From SRI RAMAKRISHNA, THE GREAT MASTER
by Swami Saradananda

 A COURTESY OF www.ramakrishna.org & Wikipedia.com

                                                                 COME LET'S MAKE A WISH !!! :D
                                                                  ALL OF YOU ARE WELCOME
                                                                    GOD BLESS US !!! <3 <3 <3 :)

                                                                           

Mahek

Mahek - Tumhara Naam Bahut Khubsurat Hain

Mahek Har Dil Ki Jism-o-Jaan Ki Zarurat Hain

Mahek Chu Jati Hain Mujhe 

Shasshon Mein Meri Ghul Jati Hain

Mahek Tum Jab Lipat Jati Ho Mujhse 

Meri Shaoor Hosh-e- Waqt Ki Naabs 

Kuch Pal Ke Liyeh Bhul Jati Hain

Tumhe Mehsus Karti Hoon

Main Apni Badan Mein Akhlas-e-Gulab Ki Tarha

Meri Zaban-e-Zaika Sheet Ke Mausam Mein

Tumhari Mithas Ko Chumti Hain

Garam Christmas Ki Cake Mein Dube Shehed Ki Tarha

Mahek Tum Ek Pal Ke Liyeh Aati Ho

Bare Gaheriyon Se Meri Dharkan Ko Chu Jati Ho

Jaise Meri Mehboob Mujhe 

Kass Ke Ghira Hain Aagosh Mein

Ek Sukun Bhari Muskan 

Meri Palkein Band Kar Deti Hain

Tum Meri Surat Mein Chandni Ke Jaise Chha Jati Ho

Meri Libas Pe Tum Sile Rahate Ho

Har Din Perfume Ki Naam Se   

Tumhari Nishan Rahe Jati Hain 

Dhundli Hui Yaadon Ki Tarha

Kavi Kavi Meri Bistar Pe 

Bechain Aakhon Mein Dube

Kuch Ancchue Khwabon Ki Tarha

Mahek Tum Sirf Ek Khowab Hi Nehi

Kavi Kavi Meri Nasha Vi Ho Tum

Meri Khirki Se Har Raat Mein Aati

Lawn Mein Pholon Ki Maykhane Se Baheti

Ek Jhonke Ke Jaise Sharab-e-Kahekasha Ho Tum 

Ek Pyass Meri Bujhake Aur Ek Pyass Jagate Ho Tum

Kya Kahun Na Jane Kaise Kaise

Arman-e-Agan Sine Mein Lagate Ho Tum

Chu Na Sakti Hoon Main Tumhe

Iss Dil Mein Bass Yehi Ek Malal Hain

Hoke Bhi Tum Na Ho Kahin

Tum Haqikat Ho Ya Phir Ho Khayal

Zindegi Bhar Uljhati Bass Yehi Ek Sawal Hain

Maheka Ke Mujhe Chali Jati Ho Door

Ek Pal Mein Behosh  Karti Hain Tumhari Surur

Tumhari Judai Ko Sahen Karte Hain

Mahek Tumhari Duriyaan Ko 

Yehi Soch Ke Karte Hain Manzoor

Ke Wada Karo Tum Aati Raho Gi

Yun Hi Achanak Meri Duniya Mein

Aur Baheka Ke Jao Gi Daheka Ke Jao Gi

Iss Hoshwale Jag Mein Fuharon Ki Tarha

Aur Mujhe Kar Do Gi Madh Hoss

Aye Mere Khubsurat Mahek-e-Huzoor  

                                                                       
                                                                           M-e-Z                                                 
                                                              A fragrance of Love <3 <3 <3 :)

                                                                                  

Say Cheese !!! :D

                                                                                  

Stan Laurel (16 June, 1890 – 23 February, 1965) and Oliver Hardy (18 January, 1892 – 7 August, 1957) are an early 20th century comedy double-act famous for visual-slapstick humour. Among the most enduringly famous of Laurel and Hardy's works are The Music Box, which features two workers' Sisyphean attempts to move a piano up several flights of stairs, and Babes in Toyland.

Laurel and Hardy got their start as a duo with director Hal Roach's Hal Roach Studios in the late 1920s, and occasionally worked with bigger studios such as RKO and MGM. They are notable for their successful transition from silent-era film to "talkies", and were extremely prolific throughout the late '20s and the '30s. In later years they also toured extensively as stage performers.Though the pair's sketches were often the result of a team of writers, Stan Laurel was something of an "idea man" who rewrote segments of scripts and did a lot of improvising.

                                        
                          THE DUO OF REEL! WHO MAKES LIFE REALLY LIVELY !!! <3 :D
                                                                    ENJOY EVERYBODY !! :D

                                                                              

Color of Kenduli :D

                                                                                


Jaydev Kenduli is a village and gram panchayat in Ilambazar community development block in Bolpur subdivision of Birbhum District in the Indian state of West Bengal. It is believed by many to be the birthplace of Jayadeva, although its authenticity is contested, and in spite of the academic controversy, has developed as a religious centre with many temples and ashramas (hermitages). An annual fair, popular as baul fair, is organized on the occasion of Makar Sankranti.

 Jaydev Kenduli had long been considered as a possible birthplace of the poet Jayadeva, who had composed Gita Govinda in Sanskrit. However, now there appears to be a consensus among scholars that Jayadeva was born in another place in Orissa bearing the same name, in Kenduli Sasan. He was popularly believed to be the court poet of Raja Lakshman Sen, who ruled in the 12th–13th century. The image of Radhamadhav set up by him is daily worshipped. The asana (mat) on which the poet sat and obtained siddhi (salvation) through meditation is carefully preserved.

During the Mughal era Jaydev Kenduli was part of Senpahari pargana. As per a firman issued by Aurangzeb in the 17th century, Senpahari was added to the property of Krishnaram Rai of Bardhaman Raj. Maharani Brajakishori of Bardhaman had set up temples in different places such as Puri and Vrindaban. Jugal Kishore Mukhopadhyay of Jaydev Kenduli was then court-poet at Bardhaman. It is said that it was at his request that the Maharani set up the Radhabinod temple at Jaydev Kenduli in 1683. The temple stands where the house of the poet Jayadeva, was believed locally to have stood, based on the prior assumption of his birth there.

Around 1860-70, Radharaman Brajabasi of the Nirbak Vaisnava sect set up the Nirbak Ashrama at Jaydev Kenduli, the place of birth of their kula guru (patron saint) of the sect, the poet Jayadeva. In the first half of the 20th century, the Radhaballav temple of the Mukhopadhyay family was established. Many more ashramas (hermitages) were set up and thus Jaydev Kenduli developed as a religious centre.

Villages in Jaydev Kenduli panchayat are: Joydev Kenduli, Tikarbeta, Sahapur, Janubazar, Raghunathpur, Mundira, Balarpur, Santoshpur, Bhubanaswer, Sugarh, Chhata Chak, and Akamba.

Terracotta carvings

The Radhabinode temple has exquisite terracotta carvings, some depicting Ramayana scenes.

Fair

A fair is organized in memory of Jayadeva on the occasion of Poush Sankranti or Makar Sankranti. It starts on the last day of the Bengali calendar month, Poush and continues up to 2 Magh. The start of the fair commemorates the auspicious day on which Jayadeva is claimed to have taken a bath at the Kadaambokhandi ghat of the Ajay river at Jaydev Kenduli. In 1982, the district authorities took control of the fair to provide a better environment, a good sanitation system, drinking water, lighting and security.

Several thousand bauls, a community of wandering minstrels who sing devotional songs to the music of the ektara (one stringed instrument), assemble for the fair and as such it is also referred to as Baul Fair. The bauls stay in 160 temporary hermitages at Jaydev Kenduli for around a month. These bauls appear to have inherited the legacy of Jayadeva songs.

However, in recent years, the greatest baul fair in the state is gradually losing its character, as the bauls have been outnumbered by kirtanias, who perform in the mela to gain popularity. In 2008, around 2,000 kirtanias came to attend the mela and they obtained contracts worth Rs. 2 crore.It is not known whether Rabindranath Tagore ever visited Jaydev Kenduli. However, many personalities linked with Santiniketan such as Kshiti Mohan Sen, Nandalal Bose, Provat Kumar Mukhopadhyay, Ramkinkar Baij, and Santideb Ghosh visited Jaydev Kenduli and contributed substantially towards the spread of its name outside Birbhum and added to its fame.

The fair, which is believed by some to have been there for around centuries, caters primarily to the requirements of village folk. Everything from cooking utensils to fishing nets are sold in the fair.

A COURTESY OF WIKIPEDIA .

                                                   THIS IS FOR MY LIONESS ONLY :D

                                                       Ki Amar Songe Jabi Naki Lioness ?? :D

                                                             Chol Amra Dujone Jai okhane 

                                                    To Gather an Unique Exerience of Life !!!

                                                                          

Yonaguni--- The Ageless

                                                                                
Where can you find pyramids apart from Egypt? Maybe you’ve heard of the Incan pyramids in Peru, the pyramids of Nubia (Sudan), or the ruined pyramids of ancient Mesopotamia (Iraq) and Persia (Iran) known as ziggurats?

What you may not know is that the list was expanded in 1987, when dive tour operator Kihachiro Aratake discovered a massive stone structure in Japan, off the island Yonaguni, south of Okinawa.
This terraced pyramid appears to have been created using skilled craftsmanship and advanced technology yet belongs to prehistory. It did not attract much attention until experts and adventurers repeatedly dived at the site, photographing and unearthing this breathtaking structure and various features.

Dr. Masaaki Kimura, a marine geologist from the University of the Ryukyus, has been diving there for more than 18 years to measure and map the features of the Yonaguni Monument, as it has come to be called. The structure consists of a huge network of buildings, including castles, monuments, and a stadium, all connected by an elaborate system what seems to be roads and waterways.

It was most likely submerged during a massive earthquake and tsunami-like disaster. Japan is located in a region of great tectonic instability—the Pacific Ring of Fire. Severe earthquakes are very common in this area.

The world’s largest recorded tsunami struck Yonaguni in 1771 with an estimated height of more than 131 feet (40 meters). Such an event may have befallen the ancient civilization associated with this structure.

Kimura presented his research and a computer-generated model of the ruin site at a scientific conference in Japan in 2007.
According to Kimura, there are 10 submerged structures off Yonaguni, and a further five similar structures off the main island of Okinawa.
Massive ruins cover an area spanning more than 48,400 square feet (approx. 4,500 square meters). Kimura believes the ruins date back at least 5,000 years, based on the ages of stalactites found in underwater caves that he thinks sank with the city.
In fact, there are many underwater caves with stalactites in the waters off Okinawa. Stalactites and stalagmites can only form above water during an extremely slow process. Submerged caves with stalactites found around Okinawa indicate that much of the area was above water at one time.

Natural or Man-Made?

“The largest structure looks like a complicated, monolithic, stepped pyramid that rises from a depth of 25 meters [82 feet],” Kimura told National Geographic News in a 2007 interview.
Over the years, he has created a detailed picture of this ancient site and has found many similarities between the underwater structures and archaeological sites on land.
For example, a semicircular cut in a rock platform matches a castle entrance in ruins on land. 

Nakagusuku Castle of Okinawa has a perfect semicircular entrance typical of gusuku (castles) of the Ryukyu Dynasty from the 13th century.
Two underwater megaliths—huge, 6-meter-tall, upright standing-stones positioned next to each other—also have similarities to twinned megaliths in other parts of Japan, such as Mt. Nabeyama in Gifu Prefecture.

But many scholars argue that all such structures are natural formations shaped by the actions of waves on the rocks over thousands of years.Boston University geologist Robert M. Schoch, known for his work on re-dating the Sphinx to a much earlier age, has varied in his opinion of the Yonaguni structures. Initially, he thought the platforms and terrace-like structures were entirely natural formations after making a few dives at the site.Schoch took some rock samples and analysis showed they were mud and sandstones from the formation called the Lower Miocene Yaeyama Group, which was deposited some 20 million years ago.

Kimura acknowledges that the basic rock structure is natural, but asserts that it has been “terraformed” by humans. For instance, two pairs of steps rising from the “main terrace” to the “upper terrace” are hard to explain by natural erosive forces.

Kimura also points out that rubble and lose blocks are not found at the base of many of the structures, or in the rock-cut channels, which would be expected if they had been produced by natural erosion.

Following later dives, Schoch agreed that: “We should also consider the possibility that the Yonaguni Monument is fundamentally a natural structure that was utilized, enhanced, and modified by humans in ancient times,” he wrote in an article in 1999.

Ancient and modern civilizations have utilized natural rock formations for a variety of purposes. The best example is the Great Sphinx of Giza in Egypt that is carved out of the “living bedrock;” others include the temples of Petra in Jordan and Mahabalipuram in south India.

Another Sphinx?

Many structures have been discovered as researchers and divers keep exploring. One has the shape of a seated statue, similar to the Sphinx.

“One example I have described as an underwater sphinx resembles a Chinese or ancient Okinawan king,” Kimura told National Geographic.

This enigmatic carved structure is now called “the goddess rock,” and was discovered at a depth of about 50 feet. Looking closely, you can make out a worn headpiece and long arms like those of the Egyptian Sphinx. Also discovered is a large round rock resembling a human face. In a similar tradition to the “Moai” figures of the Easter Islands off Chile, this giant head is resting on the ground, perhaps gazing out at a distant skyline. Some believe this figurehead forms a virtual axis or a focal point. Alternatively, it could be a legendary Atlas giant that glorified this lost city.
Several divers and researchers have noted script-like carvings on rock surfaces around the monument, and some have claimed to see animals carved in rocks.

Stone tablets recovered from the vicinity, one known as the “Okinawa Rosetta Stone,” are engraved with symbols that are similar to Egyptian hieroglyphics. The message has not been deciphered, but could be the story of the lost city as the pyramid symbol is repeatedly engraved.

Stone tools have also been recovered from the waters nearby.
The submarine pyramid and other relics discovered at Yonaguni could offer tantalizing proof of a sophisticated civilization that existed during the last ice age.

Most archaeologists believe that human civilization arose about 5,000 years ago, but a small yet persuasive number of experts think that “advanced” societies may have existed as long as 10,000 years ago and were wiped out in some sort of catastrophes

A COURTESY OF www.theepochtimes.com

There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. William Shakespeare. :)

                                                                             
   

Kohram

Mousam-e-Sharma Mujhe Bahut Pasand Hain

Zaydatar Log Iss Mousam Ko Bejaan Samajh Te Hain

Charon Taraf Sannata Hain Aur Jamabat-e-Dhund Hain

Lekin Zara Gaur Se Suno Toh 

Ek Sufiyana Dhun Dhere Se Larajh Te Hain

Kal Derr  Raat Ko Achanat Nind Tut Gayi

Aur Na Jane Kyun Meri 

Bandh Kamrein Mein Dum Ghut Raha Tha

Ek Soch Dimag Mein Karbat Le Rahin Thi

Aisa Lag Raha Tha Ke Kuch Bemisal Lamha

Jaise Haathon Se Chhut Rahin Thi

Kisine Shayed Mujhe Uss Gaheri Raat Mein

Ghar Se Khich Kar Bahar Balcony Mein Khara Kar Diya

Kuch Berang Tasbeerein Meri Aakhon Ke Samne Hua Ujagar

Aur Sari Kudrat Apni Ansar-e-Kalam Se

Kuch Ankahi Dastan Meri Nazar Ke Samne 

Likhna Shuru Kar Diyah 

Woh Bol Raha Tha Dekho Mujhe 

Main Tumhari Kudrat Hu

Main Tunhari Janam Janam Ka Sathi

Tumhari Sadiyon Ke Zarurat Hoon

Tum Mujhe Garmiyon Mein 

Meri Tez Roshni Ke Liyeh Koss Te Ho

Tum Mujhe Sawan Ke Mahine Mein

Khud Ki Pyass Bhuja Ne Ke Liyeh

Garamjoshi Se Badan Mein Samet Lete Ho

Aur Jab Aati Hain Basant Ke Mousam

Kisi Aur Ke Bahon Mein Tum Hote Ho

Ab Jo Gujar Raha Hain Meri Zaaron Ka Samah

Tum Iss Pal Mein Bandh Kar Ke Ghar Ke Darwajah

Hamesha Mujhe Bhul Jate Ho

Manti Hu Main Bahut Thak Gayi Hoon

Thori Der Gaheri Nind Soyi Hoon

Kuch Guzrein Lamhon Ki Yaadein 

Mujhe Sata Rahin Hain

Kohre Ki Shakal Mein Main

Inn Thandi Laheron Mein Royi Hoon

Tum Insan Haste Ho Larte Ho

Milte Ho Bichhar Te Ho

Kavi Khun-e-Khud Ke Rang Se Duniya Ko Ujar Te Ho

Aur Kavi Teuhar Ke Rangon Se

Bekhudi  Mein Duniya Mein Rang Bhar Te Ho

Main Dekhti Hoon Tum Sab Ko Khamoshi Mein

Kavi Dil Karta Hain Ke Main Vi Insan Ban Jau

Meri Vi Ho Muh Mein Zuban

Kuch Baatein Apni Vi Bayan Kar Jau

Har Roz Har Din Har Pal

Meri Kitne Hisse Mujhse Kho Jate Hain

Kitne Panchi, Kitne Perr, Kitne Mittie

Waqt Ke Hissab Se Jagte Hain

Aur Jab Ho Jate Hain Inn Sabki Kam Khatam

Toh Samay Ke Dariyah Mein

Yeh Sab Aulad-e-Khudah 

Hamesha Ke Liyeh Sou Jate Hain

Kya Tumhe Kavi Fursat Mili Hain ?

Inn Ko Dekhne Ki Inn Ke Barein Mein Soch Ne Ki ?

Taqlif Sirf Tumhara Nehi Dard Sirf Tumhara Nehi

Yeh Bahete Dariyah Yeh Bahate Hue Hawayein

Yeh Pattiyan Apni Sarsarahat Se 

Roz Kuch Na Kuch Kaheti Hain

Kavi Sannatein Mein Tumne Suni Hain Woh Baat ?

Kash Suni Hoti Kyun Ki Tum Insano Ki Niyat Hain 

Awazein Daboch Ne Ki   

Agar Meri Sannato Se Meri Khamoshi Se

Tumhe Itni Nafrat Hain Ya Darr Hain

Phir Tum Jab Hote Ho Dukhi Toh

Kyun Sannato Mein Sukun Ki Talash Karte Ho

Kyun Tumhe Sukun Wahan Nehi Milta

Jahan Duniya Masti Mein Chur Bematlab Befiqar Hain ?

Inn Andheron Mein Inn Berang Tasbeeron Mein

Tumhe Shayed Khushi Na Mile

Lekin Meri Dharakti Dharkano Mein

Tum Sar Ko Chhupa Ke Toh Dekho Zara

Meri Sahelate Hue Hatheli 

Tumhe Chayan Ke Nind Sula Degi

Jab Tum Kal Subhah Aakhein Kholo Gi Toh

Khudko Ek Nayi Rang Mein Paogi

Kal Ek Nayi Urja Nayi Umang Ke Saath

Tum Duniya Se Milne Ke Liyeh Taiyar Ho Jao Gi   

M-e-Z

                                                           A Tale of The Silent Night of Winter
                                                                   Love You Winter !!! <3 <3 <3  :)