Kṣupa, a noble figure of ancient times, had a twentieth son named Pratimā. Pratimā himself fathered Viviṃśu, a man of virtue and nobility. From Viviṃśu was born Khaninetra, renowned for his righteousness and great might. Khaninetra’s son was Karandhama, who came into the world at the dawn of the Tretā Yuga. Karandhama’s own son was Āvikṣi, who excelled even his father in virtue and power. Āvikṣi’s son was Marutta, a king of unimpeachable righteousness, equal to a universal monarch. Marutta’s life took a wondrous turn when the sage Saṃvartta, along with Marutta’s friends and relatives, brought him to heaven. Yet, this ascent was not without turmoil. A great dispute arose between Saṃvartta and Bṛhaspati, the priest of the gods. Bṛhaspati, seeing the abundant prosperity of the sacrifice, grew angry. When Saṃvartta took the sacrifice away, Bṛhaspati’s rage intensified, and only the intervention of the gods, who knew his power to destroy worlds, managed to pacify him. Marutta, the universal monarch, left behind a son named Nariṣyanta. Nariṣyanta’s heir was Daṇḍadhara, also known as Dama. Daṇḍadhara’s son was the valiant king Rāṣṭravardhana, followed by Sudhṛti, and then Nara. Nara had a single son, Bandhumān, the son of Kevala, who himself became a swift and righteous king. In another lineage, Budha was the son of Vegavat, and Budha’s son was Tṛṇabindu. At the beginning of the Tretā Yuga, Tṛṇabindu became king during the third age. His daughter, Draviḍā, became the mother of Viśravas, while his son Viśāla ruled with supreme righteousness. From Viśāla came Viśālā, who was said to have been created by his father’s vision, and Viśālā’s son was the mighty king Hemacandra. After Hemacandra, Sucandra gained renown, and his son was the king Dhūmrāśva. Dhūmrāśva’s son was the learned Sṛñjaya, whose own son was the illustrious and powerful Sahadeva. Sahadeva’s son was Kṛśāśva, a paragon of righteousness, and Kṛśāśva’s son was the mighty and radiant Somadatta. Somadatta, a royal sage, had a son named Janamejaya, and Janamejaya’s son was the renowned Pramati. By the favor of Tṛṇabindu, all the kings of Vaiśālī were blessed with long life, greatness of soul, strength, and true righteousness. Elsewhere, Śaryāti had twins: a famous son, Ānarta, and a daughter, Sukanyā, who became the wife of the sage Cyavana. Ānarta’s heir was the valiant Reva, and Ānarta’s land, with its capital at Kuśasthalī, flourished. Reva’s son was Raivata, a righteous man also called Kakudhmī, the eldest among a hundred brothers, who became king and inherited Kuśasthalī. Once, Raivata, together with his daughter, attended the court of Brahmā and listened to the music of the Gandharvas. In Brahmā’s presence, what seemed a mere moment was in truth many ages for mortals. When Raivata and his daughter returned, they found their city, now known as the delightful Dvāravatī, filled with Yādavas and adorned with many gates. The city was guarded by the Bhojas, Vṛṣṇis, and Andhakas, with Vasudeva at their head. Raivata, destroyer of foes, learned the true story of his city and people. He then gave his virtuous daughter Revati in marriage to Baladeva (Rāma), and afterward, Raivata ascended to the summit of Mount Meru to practice austerities. Rāma enjoyed happiness with Revati, but the sages, hearing this tale, were filled with curiosity and asked further questions. The sages inquired, “O son of Sūta, after so many ages had passed, how did Revati remain youthful, untouched by old age or gray hair? And how does the lineage of Raivata, son of Śaryāti, still endure on earth today? We wish to know the truth of this. Also, how many and what kind of hosts of gods and Gandharvas are there? Raivata, having heard their music, considered ages to be but a moment.” Sūta replied, “In Brahmaloka, there is no old age, hunger, thirst, or fear of death, nor does disease afflict one who reaches that realm. As for the Gandharva realm you ask about, I shall explain it truthfully. There are seven notes, three scales, and twenty-one modes, along with fifty-one rhythms—this is the system of musical notes. The seven notes are Ṣaḍja, Ṛṣabha, Gāndhāra, Madhyama, Pañcama, Dhaivata, and Niṣāda. The Madhyama scale includes Sauvīrī and Hariṇāsyā, and the fourth, pure Madhyamā, is endowed with time and strength. Śārṅgī, Pāvanī, and Dṛṣṭākā are the Madhyamagrāma modes. As for the Ṣaḍjagrāma, it includes Uttaramandrā, Rajanī, Uttarāyatā, pure Ṣaḍjā, and the seventh. There are also other Gāndhāra scales: Āgniṣṭomika, Vājapeyika, Pauṇḍraka, Āśvamedhika, Rājasūya, Cakrasuvarṇaka, Gosava, Mahāvṛṣṭika, Brahmadāna, and Prājāpatya. Additionally, there are Nāgapakṣāśraya and Gotara, as well as Hayakrānta, Mṛgakrānta, and the delightful Viṣṇukrānta. Sūryakrānta, Vareṇya, and the melody sung by the intoxicated cuckoo, along with Sāvitra, half-Sāvitra, and Madrama in all directions, are also known among the modes. Thus, the sages were enlightened about the passage of ages, the endurance of Raivata’s lineage, and the wondrous music of the Gandharvas that made ages seem but a fleeting moment in the presence of the divine.