Let us begin with the wisdom of music and lineage, as revealed in the sacred verses. It is said that in the art of song, every note finds its proper form when adorned with embellishments. By following the structure of the external melody, the presence of fifteen deities is recognized within the music itself. In the particular case of the cow-notes, it is the madhyama, or middle portion, that serves as the point of reversal; the careful distinction between these notes within songs marks the true beauty of the musical path. The relationship between the notes and their sequence has been described: the reversal of the melody flows in order through the seven fundamental notes. When the melody dwells in the realm of gāndhāra, four deep notes are sung, followed by the madhyama as the fifth. In the dhaivata, the niṣāda note comes forth, while the ṣaḍja and ṛṣabha are recognized only within the deeper tones, not in the intermediate ones. In the lower register, known as that of the horse and the aṣṭaka, there are two notes to be known; but in the natural and vaiṇava forms, the gāndhāra portion is used. The word itself manifests in three forms, while the kauśika displays seven. When the full gāndhāra portion is used, the rule of reversal is established, and the sequence of madhyama is prescribed for its own portion. Songs of special character are described as being composed with all seven notes, and the kauśika, too, should have seven forms. This is known as the indication of the musical limbs. There are two measures of equal value, but from the second position, the measure does not reach the navel. In the northern tradition, as in nature, the measure is absorbed; where the killers are clustered, the measure does not exceed its bounds. With one foot within the measure and the other not in the vīraṇa, the lessening of notes is known as 'movement.' The break of the second foot is established by grasping, previously in the eighth and third positions, and then the second in another arrangement. With half the symmetry of the foot and the portion of the foot in the fifth, the form is also established in its original measure. In the north, in the fourth measure, as well as in Madravatī and Madraka regions, and even in the southern Madraka, the specified measure prevails. Application comes first, and understanding follows; the taking of the feet from us—there is no crossing beyond this point. The unity of application, O best of the twice-born, is of two kinds, but the combination of many is known as 'patākā-hariṇa.' Of three metres, the right one is the true metre; there are eight combinations, called sauvīra and also mūrcchanā. The one who is truly superior to kuśatya is said to possess seven pure notes. Now, listen to the tale of ancient kings and their destinies. When Raivata departed this world, calamity befell the land: the virtuous were slain by the rākṣasas, and thus the city of Kuśasthalī was destroyed. The hundred brothers of that noble and great-souled one, bound by the rākṣasas, fled in all directions, driven by fear. Scattered and fearful, those kṣatriyas wandered, yet from their lineage arose a great race, O best of the twice-born. These descendants became renowned everywhere as the Prayatās, righteous among men. From Dhṛṣṭa came the Dhārṣṭaka kṣatriyas, famed for their boldness in battle. Along with their followers, three thousand of these noble kṣatriyas survived, among them the powerful heir of Nabhaga, named Nabhāga. Ambarīṣa was born to Nabhāga, and to Ambarīṣa came Virūpa; Virūpa’s son was Pṛṣadaśva, whose own son was Rathītara. Though born of kṣatriya stock, these were also remembered as descendants of Aṅgiras—the foremost among the Rathītaras, brāhmaṇas with the heritage of kṣatriyas. From Kṣuvata, Manu’s eldest, was born Ikṣvāku, who was exceedingly generous and had a hundred sons. Of these, Vikukṣi was the eldest, followed by Nemi and Daṇḍa; among his sons, led by Śakuni, were fifty in number. Forty-eight kings protected the region of Uttarāpatha in the southern direction as well. Of these, twenty foremost guardians of the south were distinguished, and Ikṣvāku then instructed Vikukṣi to perform the Ashtaka ceremony. The king commanded his son: "Bring meat for the śrāddha; slay animals, O mighty one. Today the śrāddha for the Ashtaka must be performed without fail." Vikukṣi, following his father’s command, went hunting and slew thousands of animals. Weary from his exertions, he ate a hare before returning with the meat and his army. Upon his return, he urged the sage Vasishtha to sprinkle the meat in consecration. Vasishtha, following the king’s instructions, prepared the meat according to the ritual. But seeing that the meat had been defiled, he grew angry and addressed the king: "O King, the meat has been defiled by your son, who has acted as a shudra by eating the hare. This meat is unfit for the ancestors." He further explained, "The hare was eaten earlier in the forest by the wicked one; thus, this meat is impure for the ancestors, O best of kings." Ikṣvāku, angered by this, spoke to Vikukṣi: "I appointed you for the ancestral rites, and you went hunting; you ate a hare in the forest, heartless, before the ceremony." Thus, at Vasishtha’s word, Ikṣvāku renounced his son, telling him to go his own way. After Ikṣvāku’s departure, Shashi obtained the earth, ruling Ayodhya with supreme righteousness. He governed the kingdom at Vasishtha’s urging, and his reign was marked by prosperity. Yet, in time, he departed, attaining a lesser state. From this account, it is taught that one should not eat meat during the ritual, for it is said: "Whoever eats meat here, I shall eat his meat there." Thus, the wise have declared the true nature of meat. Shashi’s heir was Kakutstha, mighty in valor, who was born long ago when Indra himself took the form of a bull. Thus, the lineage and wisdom of music and kings were established for the benefit of all.