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RĀJAPRAŚNIYA SUTRA
then went towards the Revered Monk Mahavira, bowed down to him, and then went toward the Jain Ascetics including Gautama and others.
(Page 96) Then these numerous gods and goddesses mustered together at one and the same time, then formed themselves into rows, then bent and bowed down in rows, then they straightened up together; thus simultaneously they rose up; steadily they bent down, and steadily rose up; and they bent down in harmony and they also rose up in harmony. Then they stretched (or spread) themselves together, and took their musical instruments at one and the same time ard played on them, sang, and danced in chorus. How was the music? Slow at the chest (i. e. the source), loud in the head, and clear (and sweet) at the throat; and being ready for dance they played the music which was well-arranged and properly controlled in the three places (viz. the chest, head and the throat), which filled the straight caverns with the humming sound (of music), which was impassioned ( (or classical), faultless at the three sources as also in the production; which was accompanied by the notes produced from the holes in a bamboo (i. e, a flute), a lute, Tala, time, beat (or harmony), and a peculiar sweetness (Graha); it was sweet, harmonious, graceful, and charming; it was soft, full of rolling sounds, very sweet, having good cadence, and of a beautiful type, heavenly, and which was meant to accompany the dance. How was the playing
on the musical instruments? The conches, horns, small conches, Kharamukhis, Payas, and Piripiriyas ware blown; The drums and tabers were being beaten; the Bhambhas and Horambhas were being sounded; (with the lutes Viyadhi and Panchi), with the Bheris, Shree Sudharmaswami Gyanbhandar-Umara, Surat
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