10. Piu, piu: that is to say, 'Belovèd, Belovèd.'
3. Even from a crow's mouth—the crow is the chief omen and messenger, of a lover's return. Cf. No. [CXXIII], and also Journal of Indian Art, No. 128, p. 103 and figure 12.
These are clearly related to reverdies of the folk, such as the Kāshmīrī songs recorded in Ratan Devī's Thirty Indian Songs. It is probable that the more one could learn of contemporary folk-song, the more apparent would be Vidyāpati's dependence on the folk-tradition. These popular motifs are interwoven throughout with the familiar similes of the classic literature. Perhaps we ought to think of Vidyāpati as a sort of mystic Burns.
3. 'House': the house, in Vidyāpati's songs refers sometimes to the actual home of Rādhā's parents, or her own home, and sometimes as here, to the 'house of love,'—the 'palace' of Shamsi Tabrīz (Nicholson XXXVIII).
2. 'Cross the sea': see note to [CXXXI].