The master, preparing for the sacred art of warfare, first marks out a place in the arena. With reverence and precision, he takes the noose in his left hand, lifting it deftly with his right. Shaping the noose into a coiled form, he spins it once above his head, then swiftly casts it upon a man clad in sturdy leather armor. Whether the opponent leaps, springs, or moves about, the master, following the prescribed method, skillfully applies his training to subdue him. Once victory is achieved according to the established rules, the master binds the opponent, tying the noose at the waist. Next, he suspends the sword at the left side, as tradition dictates. Grasping the sword firmly with the left hand, he draws it out with the right. The sword is crafted to be six fingers in circumference and raised seven hands high, a testament to both power and discipline. Around the master and his opponent are iron rods and various armors, positioned at half a hand’s distance, arranged in equal, transverse, and elevated placements, all ready for demonstration and practice. The master explains the proper use of the weapons: he places a new, sturdy shield and bow upon his body, then takes a fresh club in his right hand. Raising it high, he strikes firmly, demonstrating the certainty of overcoming the adversary. Using both hands, he brings the weapon down decisively; such mastery ensures success in the art of killing. Then Agni himself speaks, illuminating the myriad techniques of battle. He describes the circling, the striking, the leaping, the plunging, the running, the swooping, the attacks from above, the descent like a hawk, and the confusion sown amidst foes. There are shaking and tossing, swift movements to the left and right, sudden explosions unnoticed by the enemy, and the mighty blows likened to the hand of an elephant. Agni continues with the fierce, terrifying descents, the division of movements into complete, half, and third parts, and the intricate lotus-shaped foot placements. He reveals the various stances: backward, forward, the stance of the boar, and the twisting motion. In total, thirty-two techniques are to be mastered in the science of sword and shield for battle. He further details the subtle skills: turning away and turning back, grasping, light movement, upward and downward throws, holding and restraining. The hawk’s swift descent, the elephant’s drinking motion, and the crocodile’s grasp—these make up the eleven types of noose techniques essential in combat. When the noose is separated, five actions are described: the straight, the wide, the oblique, the spinning, and more, as taught by the great masters. There are also the actions of cutting, splitting, striking, whirling, lying down, slicing, carving, and employing the wheel technique. Agni describes the spear’s techniques: stamping, hissing, splitting, frightening, swinging, and the powerful blow. He teaches how to strike the eyes, the arms, the sides, and how to fell an enemy with a straight-feathered arrow or a well-cast javelin. The mace, too, has its own techniques: the struck, the cow-urine stance, the abundant, the lotus-seated, the raised body, the bent, the left and right, the turned and counter-turned, the raised foot, the leaping, the swan’s crushing, and the pressing. The axe is wielded with fierce blows, biting leaps, thrown hands, standing postures, and empty-handed maneuvers. The mallet’s actions include striking, cutting, pulverizing, leaping, and striking again. For the sling and the club, actions are described as exhausted, rested, the cow-release, and the very difficult. The club and the mace have the final, the middle, the reversed, and the one ending with an order. The sword’s actions are seizing, cutting, killing, forceful lifting, extension, striking down, and smashing. Missiles and mechanical devices share similar actions: frightening, protecting, killing, forceful lifting, and extension. Agni speaks of other techniques: abandonment, biting, the boar’s tossing, carrying with one or both hands, and holding with strength. There is binding with both hands and arms, raising at the waist, striking the chest and forehead, and twisting the arms. Embracing the limbs gently and reversing them are also taught. He describes upward striking, killing, the cow’s urine posture, left and right movements, the staff for crossing obstacles, and the Karavīra staff, which confuses the enemy. There are sideways bindings, the Apāmārga technique, terrible force, the Sudarshana, and leaps likened to lions, elephants, and asses. The master must also know the actions of the mace and the techniques of wrestling: pulling, twisting, and attacking the root of the arms. There are methods for turning the neck, breaking the back, reversing and counter-reversing, and the slaughter of sheep and goats. Wrestling includes striking with the foot, smashing, raising at the waist, embracing the body, mounting the shoulder, and sweeping the ground. Striking the chest and forehead, making one’s actions clear, tossing up and shaking down, and moving along a transverse path—these are all part of the martial discipline. There are techniques for throwing down from the elephant’s shoulder, turning away, following the divine path, descending, and confusing the enemy by moving in unexpected ways. Striking with a staff, throwing down, tearing up the earth, binding the knees, arms, and limbs—these are formidable techniques. In battle, one may strike from behind, use water, shine forth, and bind the arms, all while armored and armed, whether fighting on foot, on horseback, or atop elephants. In the grand array, two warriors hold the best goad, one at the elephant’s neck, two at the shoulders, two archers, and two sword-bearers—all stationed upon the mighty elephant, ready for the challenge of battle. Thus, the science of arms and the sacred art of combat are revealed, each technique a step on the path of mastery.