When the trees in the sacred groves failed to yield fruit, it was taught that one should nourish them with offerings of kulattha, māṣa, mudga, sesame, and barley. Ghee and cold milk were always to be poured for the sake of fruit and flowers. To further encourage their growth, the wise would water them with water in which fish had been washed, or sprinkle sheep dung powder, barley powder, and sesame seeds around their roots. There was also a practice of keeping cow meat and water together for seven nights; after this, sprinkling this preparation upon all trees would bring forth abundant fruit and blossoms. Mango trees especially thrived when watered with cold fish water, while for Aśoka trees, it was praised to gently strike the roots of the Kāminī plant. The use of dates, coconuts, and other such nourishing items, mixed with a little salt, was said to greatly increase the trees’ health. For those seeking to fulfill all desires, offerings of vidanga, fish, and meat were considered highly auspicious. Turning to the worship of the divine, Agni declared that by offering flowers to Viṣṇu, all undertakings would be crowned with success. The flowers most pleasing for such worship included mālatī, mallikā, yūthī, pāṭalā, and karavīra. Other suitable blossoms were pāvanī, atimukta, karṇikāra, kuraṇṭaka, kubjaka, tagara, nīpa, vāṇa, and varvapa-mallikā. Aśoka, tilaka, and kunda flowers were also favored, as were the leaves of tamāla, bilva, śamī, and bhṛṅgarāja. Tulasi and kāla-tulasi leaves, vāsaka, ketakī leaves and flowers, as well as lotus and red lotus, were all considered worthy offerings. However, not all flowers were suitable. Nārkka, unmattaka, kaṅgāñcī, and girimallikā could be used, but kauṭaja and śālmalī flowers, or any with thorns, were to be avoided. Bathing Viṣṇu with a prastha of ghee brought the merit of a crore of offerings, while using an āḍhaka of ghee and milk granted heavenly rewards, akin to those of a king. Agni then spoke of the Dhanurveda, the sacred science of archery and warfare. He explained that it had four main divisions, which could be described as fivefold, based on the warriors who fought from chariots, elephants, horses, and on foot. The fivefold classification included: weapons released by machines, those released by hand, those released and then held, those not released, and hand-to-hand combat. Among these, the use of weapons and missiles divided them further into two types: those employed directly and those used by deceptive means. Weapons thrown by machines, such as bows, were called “released by machine.” Stones, spears, and similar arms thrown by hand were “released by hand.” Spears and such, which could be thrown and then retrieved or held, formed another category. Swords and similar weapons, which were not thrown, were used in wrestling, which itself was unarmed combat. A warrior, having overcome fatigue, should diligently practice the appropriate exercises. Of all forms of combat, battles with bows were considered the highest, those with spears intermediate, sword-fighting the lowest, and wrestling with the arms as least. The teacher of Dhanurveda was to be a learned Brahmin or Kṣatriya, while a Śūdra could fight only in self-defense or by royal command. In times of war, the king was to be assisted by local warriors. The proper stances were then described. When the thumbs, ankles, hands, and feet were joined together, this was known as the “equal-footed stance.” Placing the outer toes together, with both knees firm and spaced three spans apart, created the Vaiśākha position. The Maṇḍala stance was when the knees aligned like swan tracks, spaced four spans apart. The Ālīḍha posture resembled a plough, with the right knee and thigh rigid and five spans wide. When reversed, it was called Pratyālīḍha, with the left leg horizontal or the right leg straight. With ankles and heels firmly set, and the five toes extended, the stance should measure twelve finger-breadths in length. In this posture, the left knee should be straight and the right extended, or, if the right is bent, it remains motionless and curved. The leg and knee should be stretched out like a staff, forming the Vikaṭa posture, which extends two arm-lengths. In the Sampuṭa posture, both feet are raised and the knees doubled. Feet turned slightly outward, steady and aligned like a staff, and measuring sixteen finger-breadths in length, complete the stance. Before beginning, one should offer salutations in the svastika posture, holding the bow with the left hand and the arrow with the right. Whether standing in Vaiśākha, Jāta, or any extended stance, the archer should then attach the string to the beloved bow. Placing the lower part of the bow at the hip and the arrowhead at the tip, one sets them on the ground before lifting them. With arms bent and forearms curved, the best bow is one whose arrow and feathered end fit well in the hand. The bow’s grip should be twelve finger-breadths apart, and the string neither too loose nor too tight. Placing the bow at the navel and the arrow at the hip, the archer raises the hand, reciting mantras at the finger and ear. The arrow is grasped at its tip with the right fist; after taking aim, the arm is quickly extended forward. The arrow should neither be too close nor too far, too high nor too low; it must not be bent, upturned, moving, or twisted. It should be straight, steady, and held like a staff, and with the fist, the archer should cover the target. Standing upright, the archer forms a triangle with the chest, keeps the neck steady, and bends the head like a peacock. The forehead, nose, mouth, and shoulders are aligned like those of a horse. The distance between the bowstring and the shoulder is to be three finger-breadths, ensuring perfect form and readiness for the sacred art of archery.