The Fire-drill.
What has been called the Aryan fire-drill, the Aranî, which in one sense means “foreign” or “strange,” and in another “moving” or “entering,” “being inserted,” is not apparently nowadays used in the ordinary ritual for the production of fire for the Homa or fire sacrifice. The rites connected with the sacred fire have been given in detail in another place.[137] In Northern India, at least, the production of the sacred fire has become the speciality of one branch of the Brâhmans, the Gujarâti, who are employed to conduct certain special services occasionally conducted at large cost by wealthy devotees, and known as Jag or Yaksha, in the sense of some particular religious rite.
The Aranî in its modern form consists of five pieces. The Adhararanî is the lower bed of the instrument, and is usually made of the hard wood of the Khadira or Khair—Acacia catechu. In this are bored two shallow holes, one, the Garta, a small shallow round cavity, in which the plunger or revolving drill works and produces fire by friction. Close to this is a shallow oblong cavity, known as the Yonî or matrix, in which combustible tinder, generally the husk of the cocoanut, is placed, and in which the sparks and heated ashes are received and ignited. The upper or revolving portion of the drill is known as Uttararanî or Pramantha. This consists of two parts, the upper portion a piece of hard, round wood which one priest revolves with a rope or cord known as Netra. This part of the implement is known as Mantha or “the churner.” It has a socket at the base in which the Sanku, a spike or dart, is fixed. This Sanku is made of a softer wood, generally that of the Pîpal, or sacred fig tree, than the Adhararanî or base; and each Aranî is provided with several spare pieces of fig wood for the purpose of replacing the Sanku, as it becomes gradually charred away by friction. The last piece is the Upamantha or upper churner, which is a flat board with a socket. This is pressed down by one priest, so as to force the Sanku deep and hard into the Garta or lower cavity, and to increase the resistance.
The working of the implement thus requires the labour of two priests, one of whom presses down the plunger, and the other who revolves the drill rapidly by means of the rope. It is not easy to obtain specimens of the implement, which is regarded as possessing mystical properties, and the production of the sacred fire is always conducted in secret.
We have in one of the African folk-tales a reference to the production of the fire by friction, in which the hyæna gets his ear burnt.[138] In one of the tales of Somadeva we read, “Then the Brâhman blessed the king and said to him, ‘I am a Brâhman named Nâga Sarman, and bear the fruit, I hope, from my sacrifice. When the god of fire is pleased with this Vilva sacrifice, then Vilva fruits of gold will come out of the fire cavity. Then the god of fire will appear in bodily form, and grant me a boon, and so I have spent much time in offering Vilva fruits.’ Then the seven-rayed god appeared from the sacrificial cavity, bringing the king a golden Vilva fruit of his tree of valour.”[139]
The Agnikunda, the hole or enclosed space for the sacred fire, out of which, according to the popular legend, various Râjput tribes were produced, is thus probably derived from the Garta or pit out of which the sparks fly in the fire-drill.
The Agnihotri Brâhman has to take particular care to preserve the germ of the sacred fire, as did the Roman vestal virgins. It is in charge of the special guardians at some shrines, such as those of Sambhunâth and Kharg Joginî at Nepâl.[140]