Let us continue the sacred tale as revealed in the verses of Vyasa’s Purana. In the art of music, whether a note is lower, higher, or deeper, if it is unbroken and continuous, it is ultimately regarded as the same note. The embellishments of music are classified into four divisions, known as makṣipracchedana. These embellishments, numbering thirty, are described according to where the sound is produced and the measure of time in which they are applied. There are four purposes for these embellishments: formation, measure, modification, and characteristic. Each must be understood by the musician. Just as a misplaced ornament on one’s body earns criticism, so too is it improper to embellish a syllable contrary to its nature. If an ornament meant for a woman is combined incorrectly, it becomes inappropriate; likewise, musical embellishments must be placed correctly, or they are greatly censured. Earrings belong on the ears, not the feet; a necklace belongs at the neck, not the waist. In the same way, misplaced embellishments in music are condemned. Even when embellishing, the proper mode and prescribed method must be observed. Now, the definition, correct application, and practice of these embellishments by singers will be described, not merely from oral tradition, but as it truly is. There are eighty-three types of reversal, and even at the beginning, the ṣaḍja group, if not present, becomes the middle or lower note. In both the ṣaḍja and madhyama tonal systems, reversal occurs similarly; the measures of higher and lower registers must be known for ṣaḍja and āvika as well. Applying embellishments to all notes is proper, and by following the external song, the fifteen deities are recognized. In the cow-notes, the reversal occurs in the madhyama portion, and the beauty of song is established by distinguishing these. The connection and related notes have been explained, and reversal proceeds through the sequence of seven notes. By the portion of gāndhāra, four deep notes are sung; the fifth is madhyama, and in dhaivata, it is niṣāda. By ṣaḍja and ṛṣabha, the deep notes are known, not the intermediate ones. There are two notes in the lower register of the horse and the aṣṭaka; in the natural and vaiṇava, the gāndhāra portion is used. The word has three forms, and the kauśika has seven forms; through the full gāndhāra portion, the rule of reversal is established, and so the sequence of madhyama is prescribed for the madhyama portion. Songs with special form should be composed of seven notes, and the kauśika should have seven forms. This is known as the indication of limbs; there are two equal measures, but from the second position, the measure is not established at the navel. In the north, as in nature, the measure is absorbed; where the killers are in the lump, the measure does not exceed. With one foot in the measure and the other not in the vīraṇa, the reduction in number is known as 'movement.' The second foot's break is established by grasping, previously in the eighth and third, and the second in the other arrangement. With half the foot’s symmetry and the portion in the fifth, the foot’s portion is also established in the original form. In the fourth in the north, and in Madravatī and Madraka, and in the southern Madraka, the specified measure prevails. The application is first, and understanding is second; the taking of the feet from us—there is no crossing here. The unity of application, O best of the twice-born, is of two; but the combination of many is known as 'patākā-hariṇa.' Of three metres, the right one is the metre; there are eight combinations, called sauvīra and also mūrcchanā. The one who is truly superior to kuśatya is said to have seven pure notes. Now, Sūta continues: When Raivata departed for the next world, all the virtuous people were slain by the rākṣasas, and thus Kuśasthalī was destroyed. Then, the hundred brothers of that righteous, great-souled one, bound by the rākṣasas, fled in all directions out of fear. Those kṣatriyas, overcome by terror, scattered here and there; yet from them, a great lineage arose, O best of the twice-born. They became known in all directions as the Prayatās, righteous ones. From Dhṛṣṭa came the Dhārṣṭaka kṣatriyas, bold in battle, along with their followers—three thousand great-souled kṣatriyas. Among them was the heir of Nabhaga, named Nabhāga, mighty and renowned. Ambarīṣa was the son of Nabhāga; Virūpa was his son; Pṛṣadaśva was the son of Virūpa, and his son was Rathītara. These were born of kṣatriyas, but are also remembered as descendants of Aṅgiras—the foremost among the Rathītaras, brāhmaṇas with kṣatriya heritage. From Kṣuvata, the eldest of Manu, Ikṣvāku was born; Ikṣvāku had a hundred sons and was exceedingly generous. Of them, Vikukṣi was the eldest, followed by Nemi and Daṇḍa; and his sons, led by Śakuni, were fifty in number. The kings who protected the region of Uttarāpatha were forty-eight in the southern direction as well. Among them, twenty foremost guardians of the southern region, Ikṣvāku then instructed Vikukṣi for the Ashtaka ceremony. The king spoke: “Bring meat for the shraddha, slay animals, O mighty one. Today the shraddha must be performed for the Ashtaka, without doubt.” Vikukṣi, as instructed by the wise king, went hunting and slew thousands of animals. Weary from the hunt, Vikukṣi ate a hare there. When Vikukṣi returned with the meat and his army, he urged Vasishtha to sprinkle the meat for consecration, thus continuing the sacred lineage and ritual, as prescribed by tradition.