Tuesday, July 29, 2008

Feeling composed...

Works of Swami Vivekananda - Work and its Secret

( Delivered at Los Angeles, California, January 4, 1900 )

One of the greatest lessons I have learnt in my life is to pay as much attention to the means of work as to its end. He was a great man from whom I learnt it, and his own life was a practical demonstration of this great principle I have been always learning great lessons from that one principle, and it appears to me that all the secret of success is there; to pay as much attention to the means as to the end.

Our great defect in life is that we are so much drawn to the ideal, the goal is so much more enchanting, so much more alluring, so much bigger in our mental horizon, that we lose sight of the details altogether.

But whenever failure comes, if we analyse it critically, in ninety-nine per cent of cases we shall find that it was because we did not pay attention to the means. Proper attention to the finishing, strengthening, of the means is what we need. With the means all right, the end must come. We forget that it is the cause that produces the effect; the effect cannot come by itself; and unless the causes are exact, proper, and powerful, the effect will not be produced. Once the ideal is chosen and the means determined, we may almost let go the ideal, because we are sure it will be there, when the means are perfected. When the cause is there, there is no more difficulty about the effect, the effect is bound to come. If we take care of the cause, the effect will take care of itself. The realization of the ideal is the effect. The means are the cause: attention to the means, therefore, is the great secret of life. We also read this in the Gita and learn that we have to work, constantly work with all our power; to put our whole mind in the work, whatever it be, that we are doing. At the same time, we must not be attached. That is to say, we must not be drawn away from the work by anything else; still, we must be able to quit the work whenever we like.

If we examine our own lives, we find that the greatest cause of sorrow is this: we take up something, and put our whole energy on it — perhaps it is a failure and yet we cannot give it up. We know that it is hurting us, that any further clinging to it is simply bringing misery on us; still, we cannot tear ourselves away from it. The bee came to sip the honey, but its feet stuck to the honey-pot and it could not get away. Again and again, we are finding ourselves in that state. That is the whole secret of existence. Why are we here? We came here to sip the honey, and we find our hands and feet sticking to it. We are caught, though we came to catch. We came to enjoy; we are being enjoyed. We came to rule; we are being ruled. We came to work; we are being worked. All the time, we find that. And this comes into every detail of our life. We are being worked upon by other minds, and we are always struggling to work on other minds. We want to enjoy the pleasures of life; and they eat into our vitals. We want to get everything from nature, but we find in the long run that nature takes everything from us — depletes us, and casts us aside.

Had it not been for this, life would have been all sunshine. Never mind! With all its failures and successes, with all its joys and sorrows, it can be one succession of sunshine, if only we are not caught.

That is the one cause of misery: we are attached, we are being caught. Therefore says the Gita: Work constantly; work, but be not attached; be not caught. Reserve unto yourself the power of detaching yourself from everything, however beloved, however much the soul might yearn for it, however great the pangs of misery you feel if you were going to leave it; still, reserve the power of leaving it whenever you want. The weak have no place here, in this life or in any other life. Weakness leads to slavery. Weakness leads to all kinds of misery, physical and mental. Weakness is death. There are hundreds of thousands of microbes surrounding us, but they cannot harm us unless we become weak, until the body is ready and predisposed to receive them. There may be a million microbes of misery, floating about us. Never mind! They dare not approach us, they have no power to get a hold on us, until the mind is weakened. This is the great fact: strength is life, weakness is death. Strength is felicity, life eternal, immortal; weakness is constant strain and misery: weakness is death.

Attachment is the source of all our pleasures now. We are attached to our friends, to our relatives; we are attached to our intellectual and spiritual works; we are attached to external objects, so that we get pleasure from them. What, again, brings misery but this very attachment? We have to detach ourselves to earn joy. If only we had power to detach ourselves at will, there would not be any misery. That man alone will be able to get the best of nature, who, having the power of attaching himself to a thing with all his energy, has also the power to detach himself when he should do so. The difficulty is that there must be as much power of attachment as that of detachment. There are men who are never attracted by anything. They can never love, they are hard-hearted and apathetic; they escape most of the miseries of life. But the wall never feels misery, the wall never loves, is never hurt; but it is the wall, after all. Surely it is better to be attached and caught, than to be a wall. Therefore the man who never loves, who is hard and stony, escaping most of the miseries of life, escapes also its joys. We do not want that. That is weakness, that is death. That soul has not been awakened that never feels weakness, never feels misery. That is a callous state. We do not want that.

At the same time, we not only want this mighty power of love, this mighty power of attachment, the power of throwing our whole soul upon a single object, losing ourselves and letting ourselves be annihilated, as it were, for other souls — which is the power of the gods — but we want to be higher even than the gods. The perfect man can put his whole soul upon that one point of love, yet he is unattached. How comes this? There is another secret to learn.

The beggar is never happy. The beggar only gets a dole with pity and scorn behind it, at least with the thought behind that the beggar is a low object. He never really enjoys what he gets.

We are all beggars. Whatever we do, we want a return. We are all traders. We are traders in life, we are traders in virtue, we are traders in religion. And alas! we are also traders in love.

If you come to trade, if it is a question of give-and-take, if it is a question of buy-and-sell, abide by the laws of buying and selling. There is a bad time and there is a good time; there is a rise and a fall in prices: always you expect the blow to come. It is like looking at the mirrors Your face is reflected: you make a grimace — there is one in the mirror; if you laugh, the mirror laughs. This is buying and selling, giving and taking.

We get caught. How? Not by what we give, but by what we expect. We get misery in return for our love; not from the fact that we love, but from the fact that we want love in return. There is no misery where there is no want. Desire, want, is the father of all misery. Desires are bound by the laws of success and failure. Desires must bring misery.

The great secret of true success, of true happiness, then, is this: the man who asks for no return, the perfectly unselfish man, is the most successful. It seems to be a paradox. Do we not know that every man who is unselfish in life gets cheated, gets hurt? Apparently, yes. "Christ was unselfish, and yet he was crucified." True, but we know that his unselfishness is the reason, the cause of a great victory — the crowning of millions upon millions of lives with the blessings of true success.

Ask nothing; want nothing in return. Give what you have to give; it will come back to you — but do not think of that now, it will come back multiplied a thousandfold — but the attention must not be on that. Yet have the power to give: give, and there it ends. Learn that the whole of life is giving, that nature will force you to give. So, give willingly. Sooner or later you will have to give up. You come into life to accumulate. With clenched hands, you want to take. But nature puts a hand on your throat and makes your hands open. Whether you will it or not, you have to give. The moment you say, "I will not", the blow comes; you are hurt. None is there but will be compelled, in the long run, to give up everything. And the more one struggles against this law, the more miserable one feels. It is because we dare not give, because we are not resigned enough to accede to this grand demand of nature, that we are miserable. The forest is gone, but we get heat in return. The sun is taking up water from the ocean, to return it in showers. You are a machine for taking and giving: you take, in order to give. Ask, therefore, nothing in return; but the more you give, the more will come to you. The quicker you can empty the air out of this room, the quicker it will be filled up by the external air; and if you close all the doors and every aperture, that which is within will remain, but that which is outside will never come in, and that which is within will stagnate, degenerate, and become poisoned. A river is continually emptying itself into the ocean and is continually filling up again. Bar not the exit into the ocean. The moment you do that, death seizes you.

Be, therefore, not a beggar; be unattached This is the most terrible task of life! You do not calculate the dangers on the path. Even by intellectually recognising the difficulties, we really do not know them until we feel them. From a distance we may get a general view of a park: well, what of that? We feel and really know it when we are in it. Even if our every attempt is a failure, and we bleed and are torn asunder, yet, through all this, we have to preserve our heart — we must assert our Godhead in the midst of all these difficulties. Nature wants us to react, to return blow for blow, cheating for cheating, lie for lie, to hit back with all our might. Then it requires a superdivine power not to hit back, to keep control, to be unattached.

Every day we renew our determination to be unattached. We cast our eyes back and look at the past objects of our love and attachment, and feel how every one of them made us miserable. We went down into the depths of despondency because of our "love"! We found ourselves mere slaves in the hands of others, we were dragged down and down! And we make a fresh determination: "Henceforth, I will be master of myself; henceforth, I will have control over myself." But the time comes, and the same story once more! Again the soul is caught and cannot get out. The bird is in a net, struggling and fluttering. This is our life.

I know the difficulties. Tremendous they are, and ninety per cent of us become discouraged and lose heart, and in our turn, often become pessimists and cease to believe in sincerity, love, and all that is grand and noble. So, we find men who in the freshness of their lives have been forgiving, kind, simple, and guileless, become in old age lying masks of men. Their minds are a mass of intricacy. There may be a good deal of external policy, possibly. They are not hot-headed, they do not speak, but it would be better for them to do so; their hearts are dead and, therefore, they do not speak. They do not curse, not become angry; but it would be better for them to be able to be angry, a thousand times better, to be able to curse. They cannot. There is death in the heart, for cold hands have seized upon it, and it can no more act, even to utter a curse, even to use a harsh word.

All this we have to avoid: therefore I say, we require superdivine power. Superhuman power is not strong enough. Superdivine strength is the only way, the one way out. By it alone we can pass through all these intricacies, through these showers of miseries, unscathed. We may be cut to pieces, torn asunder, yet our hearts must grow nobler and nobler all the time.

It is very difficult, but we can overcome the difficulty by constant practice. We must learn that nothing can happen to us, unless we make ourselves susceptible to it. I have just said, no disease can come to me until the body is ready; it does not depend alone on the germs, but upon a certain predisposition which is already in the body. We get only that for which we are fitted. Let us give up our pride and understand this, that never is misery undeserved. There never has been a blow undeserved: there never has been an evil for which I did not pave the way with my own hands. We ought to know that. Analyse yourselves and you will find that every blow you have received, came to you because you prepared yourselves for it. You did half, and the external world did the other half: that is how the blow came. That will sober us down. At the same time, from this very analysis will come a note of hope, and the note of hope is: "I have no control of the external world, but that which is in me and nearer unto me, my own world, is in my control. If the two together are required to make a failure, if the two together are necessary to give me a blow, I will not contribute the one which is in my keeping; and how then can the blow come? If I get real control of myself, the blow will never come."

We are all the time, from our childhood, trying to lay the blame upon something outside ourselves. We are always standing up to set right other people, and not ourselves. If we are miserable, we say, "Oh, the world is a devil's world." We curse others and say, "What infatuated fools!" But why should we be in such a world, if we really are so good? If this is a devil's world, we must be devils also; why else should we be here? "Oh, the people of the world are so selfish!" True enough; but why should we be found in that company, if we be better? Just think of that.

We only get what we deserve. It is a lie when we say, the world is bad and we are good. It can never be so. It is a terrible lie we tell ourselves.

This is the first lesson to learn: be determined not to curse anything outside, not to lay the blame upon any one outside, but be a man, stand up, lay the blame on yourself. You will find, that is always true. Get hold of yourself.

Is it not a shame that at one moment we talk so much of our manhood, of our being gods — that we know everything, we can do everything, we are blameless, spotless, the most unselfish people in the world; and at the next moment a little stone hurts us, a little anger from a little Jack wounds us — any fool in the street makes "these gods" miserable! Should this be so if we are such gods? Is it true that the world is to blame? Could God, who is the purest and the noblest of souls, be made miserable by any of our tricks? If you are so unselfish, you are like God. What world can hurt you? You would go through the seventh hell unscathed, untouched. But the very fact that you complain and want to lay the blame upon the external world shows that you feel the external world — the very fact that you feel shows that you are not what you claim to be. You only make your offence greater by heaping misery upon misery, by imagining that the external world is hurting you, and crying out, "Oh, this devil's world! This man hurts me; that man hurts me! " and so forth. It is adding lies to misery.

We are to take care of ourselves — that much we can do — and give up attending to others for a time. Let us perfect the means; the end will take care of itself. For the world can be good and pure, only if our lives are good and pure. It is an effect, and we are the means. Therefore, let us purify ourselves. Let us make ourselves perfect.

Thursday, July 17, 2008

Kangal Irandal...

For every season there is one particular love song that Tamil Cinema assures which would become a welcome hit among all divisions of public. Kangal Irandal from Subramaniapuram is definitely making waves. Everything about this song would strike one in the first hearing itself. The open voices of the singers Belly Raj and Deepa Miriam(hav they sung any other songs?) The lyrics by Thamarai. She is too good. Right from her big break 'Vassegara', she has never failed to impress. Many of her famous numbers being under Gautham's direction. Engineer by education, writer by passion! 'Pesa enni sila naal arigil varuven, pinbu paarvai podhum ena naan, ninaithen nagardheney... maatri'. And the rhythm to this rhyme is given by 'James Vasanthan'(remember the anchor in sun tv...?) It seems he was a music teacher in Kodaikanal and the director of the movie 'Sasi Kumar' was his student. He had promised to give James a chance if he becomes a director. The worthy part of his music is the importance he gives to vocals. The flute is used whenever there is a pause in the vocal. This song is based on some classical raga(no idea what..?) but has a western peppy beat throughout the song. The beat snowballs when it reaches Kangal Irandal...the touch! And hey the video of the song is also good. But I wonder why the heroine blushes so much...?:)

Kangal Irandal lyrics with an amateurish translation and video:

Kangal irandal un kangal irandal
ennai katti izhuthai izhuthai podhadhena
(With your eyes, you tied and pulled me and as if it was not enough...)
chinna chirippil oru kalla chirippil
ennai thalli vittu thalli vittu moodi maraithai
(small smile, with that impish smile, you pushed me and concealed it all.)

Pesa enni sila naal
arigil varuven
(I would think of speaking and come near...)
pinbu paarvai podhum ena naan
ninaithen nagardheney maatri
(then I would pass by as if the looks sufficed)

Kangal ezhudhum iru kangal ezhudhum
oru vanna kavidhai kaadhal dhaana
(The eyes pen...a beautiful poetry, is it love?)
oru varthai illaye idhil osai illaye
idhai irulilum padithida mudigiradhe
(there are no words, no sounds and can be read even in the dark)

Iravum alladha pagalum alladha
pozhudhugal unnodu kazhiyuma
(Not night, not day...can I get more time to spend with you...)
thodavum koodatha padavum koodatha
idaiveli appodhu kuraiyuma
(if so will will the space between the touch and feel be bridged)

Madiyinil saindhida thudikudhe
marupuram naanamum thadukudhe
(I yearn to rest on your lap but my shyness stops me...)
idhu varai yaaridamum solladha kadhai
(all of it an untold story)

Kangal irandal un kangal irandal
ennai katti izhuthai izhuthai podhadhene
(With your eyes, you tied and pulled me and as if it was not enough...)
chinna chirippil oru kalla chirippil
ennai thalli vittu thalli vittu moodi maraithai
(small smile, with that impish smile, you pushed me and concealed it all.)


Thiraigal andaatha kaatrum theendatha
manadhukkul eppodho nuzhaindhitai
(Not the touch of the waves, not even the feel of the breeze...when did you alone make it into my bosom)
udalum alladha uruvam kolladha
kadavulai pol vandhu kalandhitai
(like the God with no body or form, you have got inside me)

Unnai andri ver oru ninaivilla
(There is no other thought other than you)
ini indha vonuyir enadhillai
(this soul is no longer mine)
thadaiyilai saavilume unnoda varra
(there is no bar even in death to come along with you)

Kangal ezhudhum iru kangal ezhudhum
oru vanna kavidhai kaadhal dhaana
(The eyes pen...a beautiful poetry, is it love?)
oru varthai illaye idhil osai illaye
idhai irulilum padithida mudigiradhe
(there are no words, no sounds and can be read even in the dark)

Pesa enni sila naal
arigil varuven
(I would think of speaking and come near...)
pinbu parvai podhum ena naan
ninaithen nagardheney maatri
(then I would pass by as if the looks sufficed)

Kangal irandal un kangal irandal
ennai katti izhuthai izhuthai podhadhene
(With your eyes, you tied and pulled me and as if it was not enough...)
chinna chirippil oru kalla chirippil
ennai thalli vittu thalli vittu moodi maraithai
(small smile, with that impish smile, you pushed me and concealed it all.)




Tuesday, July 15, 2008

Class 4 The Mass!

ARR sweet 16! Dats what I felt exactly when I heard his latest album 'Sakkarakatti'. Anyone there who believes Rahman compositions are just about melody, then this album is meant for you. Yup, it's peppy songs. Not the ordinary kutthu paatu with just one instrument playing it all. Violin, guitar, piano, sax, drums etc. The MAN has used it all, and the confluence is amazing. There is no clash in the orchestration, its brilliance. Look out for the song 'Elay', the prelude, the interludes...Whatta modulation! Pulse of the youth caught with immense technical knowledge.
My Fav 2 is Taxi Taxi and Marudhaani.

Taxi Taxi
Singers: Benny Dayal, Blaaze, Viviane Chaix and Javed Ali
Lyrics: Blaaze, Na Muthukumar, Viviane Chaix

The lyrics is simple. Though the French intone and some of the interludes have been beyond my understanding:) It's a friendship song. Na, it can't replace Mustafa. Coz this wont be easy to sing esp the RAP by Blaaze. He rocks! A youthfully energizing song. The bale bale and ole ole chants are superb!

Ha ha hey hey....
Nanba nee oru ilavasa taxi

Once upon a time when we were riding real easy
Only we used our new Maruthi
Look up on the sides when a city girl pass by
Bale bale you say bye bye bye

mmm(it's a peculiar sound..) say bale bale
mmm say ole ole
mmm say ole ole
shaaba

mmm say bale bale
mmm say ole ole
mmm say ole ole
shaabaaaaaa…

Rasi Rasi…nanban kidaithal ellam ossi
Taxi Taxi...nanba nee oru ilavasa taxi

Nee nee nee nee illayael, naan naan naan engu povathu
Thoal saaya thoal illayael en vaazhkai ennavathu

Rasi Rasi…nanban kidaithal ellam ossi
Taxi Taxi...nanba nee oru ilavasa taxi

oola oola…nanban kidaithal elllam ossi
oola oola…yossi yossi…yossi yossi

Blazze[RAP]

En thavarai nee maraithai
Enakai archanai vaanginaai
Un Thoalgal Enniyai poal
Erri midithaen, thaanginaai

Ezhum poathu kai thanthu
Azhum poathu kadan thanthu
Ilaipaara madi thanthu
Enakena vaazhvathu nee thaane

Rasi Rasi…nanban kidaithal ellam ossi
Taxi Taxi...nanba nee oru ilavasa taxi

[French intone]

na na nana...

Thillana Thillana Thimiru pudicha thillanaa
Anbaa naan Anbaa naan adangamaataen hero naan
Kalla thanam theriyaadhu
Kaadhaliye kidaiyaathu

nan na na nana na na...

Kanjathanam theriyaathu
Kanjaave kidayaathu
Nalla pazham kidayaathu
Gnana pazham kidayaathu
En uyir nanban nee thaane

Rasi Rasi…nanban kidaithal ellam ossi
Taxi Taxi...nanba nee oru ilavasa taxi

neeya neeya neeya neeya illayael
na na na na na na engu poavathu
Thoal saaya Thoal illayael en vaazhkai
ennavathu…ennavathu…ennavathu…

nan na naa na na na...

Taxi Taxi...Awesome taxi…
Taxi Taxi…Raasi Raasi…rap ae jaasthi…
Taxi Taxi… hey… hey..ah..hah…hah..
Taxi Taxi…Make the wave… Make the sound…
Taxi Taxi…kumbakumengum city city
Thinam thinam engal tire kaatchi
Group boys naangal king of the streets
Live people gather every body follow me

Look up in the side when ya see u when u pass by
Friend thavira friends thavira stay with me all at the time
Goli soda pizza.. they must they must ask why?

mmm say bale bale
mmm say ole ole
mmm say ole ole
shaaba

mmm say bale bale
mmm say ole ole
mmm say ole ole
shabaaa...


Marudhaani
Singers: Madhushree, ARR, Henry
Lyrics : Vaali

Marudhaani is a female solo. The interlude thara..ra by Rahman. Vaali's lyrics is interesting. It takes lots of time to understand coz of Madhushrees tamil accent. But you don't bother coz she plays the same magic with her voice as in Sandai Kozhi song from Aayitha Ezhuthu. The best part in the music of the song is the piano interlude. Awesome!

Aaa....Aaa...
Marudhani...Marudhani...Marudhaani vizhiyil en
Adi podi deepaali
Gangai endra kaanalai kaatum
kaadhal kaanal endru Gangai kaatum
Vaazhum payirku thaneer vendum
Kadhal kadhaikkum kanner vendum

Marudhaani vizhiyil En
adi podi deepaali
Agaayam man meethu saayathu
Nijamaana kadhal dhaan,inaiyaana paadal dhaan...
athan oasai ennaalum oyaathu...

Maruthaani...Maruthaani...Maruthaani vizhiyil yaen...

Avan idhaya veetil vaazhum aval degam venthu pogum
enai avan marunthida maataan sottu neerum sottu sorum
kadhali kai nagam ellaam pokkisham pole avan semipaan

ARR: oh...oh... tha ra ra ra... tha ra re ra...

oruthikkaaka vazhgira jaadhi
unaravillai innoru paadhi

Maruthaani vizhiyil en
adi podi deepali..
Nijamaana kadhal dhaan...nilayaana paadal dhaan...
athan ossai ennaalum oyaathu...

oh....oh...oh...

aval avan kadhal nenjil kandaale siru kutram
avan nenjam thaai paal pole ennalum parisuththam
Aathiram naethiram vooda paalayum kallaai aval paarkiraal

ARR:
oh...oh... tha ra ra ra... tha ra re ra...

Aaga motham avasara koalam
avalakku athu kaatidum kaalam
Marudhaani...Marudhaani...Marudhaani vizhiyil en
adi podi deepali
Gangai endra kaanalai kaatum
kaadhal kaanal endru Gangai kaatum..
Vaazhum payirku thaneer vendum...
Kadhal kadhaikkum kanner vendum..

Marudhaani vizhiyil en
adi podi deepaali
Agaayam man meethu saayathu
Nijamaana kadhal dhaan...nilayaana paadal dhaan...
athan ossai ennaalum oyaathu...

Marudhaani...Marudhaani...Marudhaani Vizhiyil en...

Thursday, July 3, 2008

Happy Birthday Padu!!!

Happy Birthday dearest! You are in no way gonna read this but that doesn't make you any less special. Friends from 9 th std on. It's not just school time friend, you are more than that to me. You know my each semester percentage better than I do. And your advice atleast to make mom happy next time...lol. Not many I know who get 90+% in 12th and don't choose Engg or Medicine. In your family all 3 of you are like that. Advanced Diploma in Fashion Tech, B.A in Jainology and all those religious courses you attend. You will get a reputation for patience for sure. I still can't forget those dresses you designed for the fest in your college. Remember what I said, if at all I become an affluent person, I will have you as my personal designer. My Manish Malhotri...hehe! I just wish you make the best use of your talents, and not opt for in-law-sevva .

To my Gudiya
इस छोटे से दिल की, एक छोटी सी आशा, काश हम रहते साथ साथ हमेशा !!
dat is dhil and small ki, didn't get the right fonts. Now don't call me copy cat:)

And this song for the memories we shared along, esp it always reminds me of Goa. Dil Chahtha Hain title song with translation.

Dil Chahta Hai, Dil Chahta Hai
(The heart wants...)
Dil Chahta Hai, Kabhi Na Beete Chamkeele Din
(The heart wants...may these sparkling days never end)
Dil Chahta Hai, Hum Na Rahein Kabhi Yaaron Ke Bin
(The heart wants...may we never have to be without our friends)
Din Din Bhar Ho Pyaari Baatein
(May our days be full of poetry)
Jhoome Shaame, Gaaye Raatein
(Our evenings dance and nights sing)
Masti Mein Rahe Dooba Dooba Hameshaa Samaa
(May our time together always be fun and exciting)
Humko Raahon Mein Yoonhi Milti Rahein Khushiyaan
(May every path we tread bring us happiness)
Dil Chahta Hai, Kabhi Na Beete Chamkile Din,
Dil Chahta Hai, Hum Na Rahe Kabhi Yaaron Ke Bin

Jagmagaate Hain, Jhilmilaate Hain Apne Raastein
(Our paths dazzle with their glitter)
Yeh Khushi Rahe, Roshni Rahe Apne Waaste
(May this joy and light be ours by right)
Oh Oh Oh ...

Jahan Ruke Hum, Jahan Bhi Jaayein
(Wherever we stop, wherever we go...)
Jo Hum Chaahein, Voh Hum Paayein
(What we desire , we will receive...)
Masti Mein Rahe Dooba Dooba Hameshaa Samaa
(
May our time together always be fun and exciting)
Humko Raahon Mein Yoonhi Milti Rahein Khushiyaan
(
May every path we tread bring us happiness...)
Dil Chahta Hai, Dil Chahta Hai

Kaisa Ajab Yeh Safar Hai, Socho To Har Ik Hi Bekhabar Hai
(How strange is this journey! if you just think each of us is so unaware...)
Usko Jaana Kidhar Hai, Jo Waqt Aaye, Jaane Kya Dikhaaye
(of where he is destined to go...of what the future holds for each of us...)
Oh Oh Oh ...

Dil Chahta Hai, Dil Chahta Hai
(The heart wants...)
Dil Chahta Hai, Kabhi Na Beete Chamkeele Din
(The heart wants...may these sparkling days never end...)

- ur best friend!