Beginning with the noblest of weapons (bow and arrow), the text de-
scribes practical techniques. There are ten lower-body poses to be assumed
when using bow and arrow, and a specific posture to assume when the dis-
ciple pays obeisance to his preceptor (249: 9–19). Instructions are given on
how to string, draw, raise, aim, and release the bow and arrow (249: 20–29).
The second chapter records how a Brahman should ritually purify
weapons before they are used, as well as more advanced and difficult bow
and arrow techniques (250). Implicit in this chapter is the manual’s leit-
motif—how the martial artist achieves a state of interior mental accom-
plishment. The archer is described as “girding up his loins” and tying in
place his quiver after he has “collected himself.” He places the arrow on
the string after “his mind [is] divested of all cares and anxieties” (Dutt
Shastri 1967, 897). Finally, when the archer has become so well practiced
that he “knows the procedure,” he is instructed to “fix his mind on the tar-
get” before releasing the arrow (Dutt Shastri 1967, 648). The consummate
martial master progresses from training in basic body postures, through
technical mastery of techniques, to single-point focus, to even more subtle
aspects of mental accomplishment:Having learned all these ways, one who knows the system of karma-yoga
[associated with this practice] should perform this way of doing things with
his mind, eyes, and inner vision since one who knows [this] yoga will con-
quer even the god of death (Yama).
Having acquired control of the hands, mind, and vision, and become ac-
complished in target practice, then [through this] you will achieve disci-
plined accomplishment (siddhi). (Dasgupta 1986)Having achieved such single-point focus and concentration, the mar-
tial artist must apply this knowledge in increasingly difficult circumstances.
The archer progresses to hitting targets above and below the line of vision,
vertically above the head, while riding a horse and shooting at targets far-
ther and farther away, and hitting whirling, moving, or fixed targets one af-
ter the other (250: 13–19; 251).
The remainder of the text briefly describes postures and techniques
for using a variety of other weapons: noose, sword, armors, iron dart, club,
battle-ax, discus, trident, and hands (in wrestling). A short passage near the
end of the text returns to the larger concerns of warfare and explains the
use of war elephants and men. The text concludes with a description of
how to send the well-trained fighter off to war:The man who goes to war after worshipping his weapons and the
Trailokyamohan Sastra [one that pleases the three worlds] with his own
mantra [given to him by his preceptor], will conquer his enemy and protect
the world. (Dasgupta 1986)752 Written Texts: India