When the archer, even if his mind is distracted, prepares to shoot, he must still carefully position the arrow. With his right hand, he draws an arrow from the quiver. Grasping it firmly at the center, he supports it, the left hand steadying the arm-guard, and from there, he draws out the bow. With unwavering focus, the archer fixes the feather of the arrow against the bowstring, pressing it tightly with the lion’s ear grip, ensuring the feather is held evenly and securely. He brings the tip of the arrow close to his left ear, using his middle and left fingers to hold the colored markings there. Concentrating his mind on the target, maintaining the correct grip, he aligns his right side and releases the arrow. He places the shaft at the center of his forehead, draws, and lets the arrow fly so that the crescent mark is sixteen fingers from him. After releasing, he practices the torch technique, repeatedly restraining the arrow with his middle finger. He aims at targets at eye level and at square targets to his right, practicing to pierce them while standing at the starting point. With growing skill, he swiftly takes on targets that are sharp, turned away, departing, as well as those that are low, high, or moving. Wherever the target is to be pierced, he draws the bow from the quiver with the strength of his hand, and even difficult targets are threatened with a display of various techniques. Among the struck targets, there are two called ‘firm,’ two that are difficult, and two more that are both varied and difficult. Neither the low nor the sharp target is counted among the firm; the low is considered difficult, as is the elevated one. The center of the head and body is known as the ‘varied and difficult’ target. Thus, the archer forms groups of targets, practicing with both right and left hands. The hero who first strikes the mark is to ascend, then the others follow; this is the established rule, confirmed by those who practice it. Greater rotation is required for that target, and the feathered arrow must be firmly attached there. Whether the target spins, moves, or stands very steady, the archer must strike, break, cut, or afflict it from all sides. Knowing the method and the rules, he acts with understanding; with mind, sight, and vision united, the yogic archer conquers his own restraint. Agni spoke: When one has mastered the hand, mind, and sight, and achieves the mark with assured success, he should then mount his vehicle. The noose, ten hands in length, round and ending at the hand, is crafted from cords of cotton, munja grass, hemp, and strong threads of gold or armor. For the very strong, it is wrapped well and made thirty times as long, tightly twisted. The teacher prepares its place in the arena; grasping it with the left hand, he lifts it with the right. He forms it into a coil, spins it once above his head, and swiftly casts it onto a man clad in leather armor. Whether the target leaps, springs, or wanders, he applies the noose with skillful training, following the proper method. Once the target is subdued, he binds it according to the rule, tying at the waist and suspending the sword at the left side. Grasping firmly with the left, he draws out with the right; the noose should be six fingers in circumference and raised seven hands high. Iron rods and various armors are set at half a hand’s distance, as well as at equal, transverse, and elevated positions. Agni continued: Listen as I explain how to employ these weapons. After placing a new, sturdy shield and bow upon the body, the warrior takes a new club in the right hand, raises it, and strikes firmly—thus ensuring the defeat of the opponent. Using both hands, he brings it down upon him; performing this without difficulty, he achieves success in combat. Agni further described the arts of battle: circling, striking, leaping, plunging, running, swooping, attacking from above, descending like a hawk, and creating confusion in the ranks. There are also shaking, tossing, leftward and rightward movements, sudden, unnoticed explosions, and the mighty blows of the elephant-hand. The fierce descents—terrifying and dreadful—are practiced, as well as the complete, half, and third movements, and the lotus-shaped foot placements. The backward stance, forward stance, boar stance, and twisting are all part of the thirty-two techniques known in the science of sword and shield. Turning away, turning back, grasping, light movements, upward and downward throws, holding, and restraining are all practiced. The hawk’s descent, the elephant’s drinking, and the crocodile’s grasp—these are the eleven types of noose techniques in battle. The straight, the wide, the oblique, and the spinning—these five actions are taught by the great ones when the noose is separated. Cutting, splitting, striking, whirling, lying down, slicing, carving, and the wheel technique are all actions to be mastered. The stamping, the hissing, the splitting, the frightening, and the swinging are spear techniques, with the sixth being the blow. Striking the eyes, the arms, and the sides, O best of the twice-born; the fall with a straight-feathered arrow and the technique of the javelin are also described. Finally, Agni spoke of the various targets: the struck, the cow-urine, the abundant, the lotus-seated, the one with raised body, the bent, and those to the left and right—all these must be known and mastered by the disciplined warrior.