Agni, the divine teacher, imparted the sacred science of archery and martial discipline to the twice-born. He began with the precise measurements for the use of mantras: for the first, the archer must know a span equal to one finger’s length; for the second, two fingers’ length is required; for the third, again one finger’s length, measured between the chin and the shoulders. With care, the archer takes the arrow by its feather, using thumb and forefinger, then grasps it again with the ring and middle fingers. Drawing the bow with strength, he pulls until the arrow is fully drawn, and then releases it according to the proper method. With sight and fist aligned, the arrow is sent forth to pierce the target, and after release, the rear hand is swiftly thrown backward. This technique is known as the ‘cutting off’ method, where the lower part of the wrist is drawn down by the archer. When shooting upward, the middle of the arrow is aimed at the target. The most excellent technique is known only to those skilled in the science of archery. The longest arrow is twelve fists in length, the middle is eleven, and the shortest is ten. An excellent bow is four cubits long; the middle length is three and a half cubits, and the shortest, used by foot soldiers, is three cubits. Agni continued: Once the bow is drawn to its full extent, the archer, with flesh and mace weapons, thoroughly cleanses the bow and sets it up in the sacrificial ground. He takes up the arrow with full attention and concentration, firmly tying the right arm-guard. Even if distracted, the arrow must be placed well, and then drawn from the quiver with the right hand. Holding the arrow at its middle, he supports it, and with the left hand on the arm-guard, draws out the bow. With unwavering mind, he places the feather on the string, pressing it firmly with the lion’s ear grip and the feather, equally and tightly. The tip of the arrow rests near the left ear, and the colors are held with the middle and left fingers. Focusing the mind on the target, and with the proper grip, the arrow is released from the right side of the body. Placing the shaft at the center of the forehead, he draws and releases the arrow so that the crescent mark is sixteen fingers away. After releasing the arrow, he employs the torch technique, restraining it again and again with the middle finger. He shoots at the eye-level target from the quiver, and also at the square target on the right, practicing to pierce the square target while standing at the starting point. He must then practice swiftly on targets that are sharp, turned away, departed, as well as those that are low, high, and moving. At the places to be pierced, the bow is drawn from the quiver by the strength of the hand, and even difficult targets are threatened with various displays. On the struck target, there are two called ‘firm’, two that are difficult, and two that are both varied and difficult. Neither the low nor the sharp target is among the firm; the low is designated as difficult, as is the elevated target. In the middle of the head and body, the target is called ‘varied and difficult’. Thus, the archer makes a group of targets, using both hands. The hero who first achieves the mark should ascend, then the man; this is the prescribed rule, observed by those who practice it. Greater rotation is declared for that target; he should firmly attach the mark with the feathered arrow. Whatever is spinning, moving, or steady, he should strike, break, cut, or afflict it from all sides. One who knows the method and practice acts thus, understanding the rule; with mind, sight, and vision, the yogic archer conquers restraint. Agni said further: One who has mastered the hand, mind, and sight, and who achieves the mark with assured success, should then mount the vehicle. The noose should be ten hands in length, round, and at the end of the hand, made from cords of cotton, munja grass, hemp, and strong threads of gold or armor. For those who are very strong, the noose should be well wrapped; the wise should make it thirty times as long, well twisted. The teacher prepares its place in the arena; grasping it with the left hand, he lifts it with the right. Forming it into a coil, spinning it once above the head, he quickly throws it onto a man clad in leather armor. Whether leaping, springing, or wandering, he applies the method with skillful training. Having conquered according to the rule, he performs the binding, tying it at the waist, and suspending the sword at the left side. Grasping firmly with the left, he draws out with the right; it should be six fingers in circumference and raised seven hands high. Iron rods and various armors are placed at half a hand’s distance, as well as at equal, transverse, and elevated positions. Agni explains in detail how to properly employ it: after placing a new, sturdy shield and bow upon the body, the archer takes a new club in the right hand, raises it, and strikes firmly, ensuring the destruction of the opponent. Then, using both hands, he brings it down upon him, achieving success in the killing without difficulty. Agni described the martial techniques: circling, striking, leaping, plunging, running, swooping, attacking from above, descending like a hawk, and creating confusion—each skill forming part of the sacred discipline of the warrior, to be mastered with reverence and precision.