I venture to express the view that the archaic image of Shamash (fig. [73], a), the homonym of Heaven and the North, which was “an ancient model” at the time of Nabupaliddin (879-855 B.C.), could only have been invented by a race of pole-star worshippers who had long been acquainted with the uses of the fire drill and the oil-press. At the same time I point out how remarkably the combination of four rays and four streams in the image of Shamash (Shame=heaven) coincides with the explanation given by Hewitt (p. 9, vol. ii) of the Akkadian eight-rayed star of Anu (heaven), which, he asserts, is formed by the superposition of the fire-cross and rain cross. It is a most remarkable and undeniable fact that there is a striking analogy between the Anu sign as explained by Hewitt and the Shamash image. The eight-rayed or “spoked wheel” of Ishtar, which figures on the same tablet, also gains significance for the same reason, and particularly when collated with the hymn cited in note 1, p. [448], in which she is clearly designated as the “axis of the heavens,” i. e. the female Polaris.
Having indicated how the origin of the image of Shamash can be traced to conceptions arising from the use of the fire-drill and some primitive mode of extracting oil or of preparing a highly valued drink from seeds and plants, by centrifugal action, invented by a primitive agricultural people, I advance the suggestion that the celestial tree of the Norsemen and Semites, associated with the fountain and the four rivers of life, appears as a closely related symbol which, however, mainly expressed the idea of stability. In the Eddas the tree occurs as a complement to the world axle, the first as the [pg 504] emblem of stability and of a central power which dispensed shade and life-giving fruits in all directions; the second as the image of centrifugal power which caused the star-groups to assume opposite positions and which impartially distributed heat and water. It is curious to note how readily from the fire-drill and beam of the oil press as a starting point, not only all forms of tree and pole worship and the Chinese assignment of element wood to the Middle, but also all symbols of centrifugal motion, such as the axle, the pivot and the wheel, could have evolved on closely parallel lines.
Let us now transport ourselves to a land where, to this day, the Indian women grind maize on a flat stone, by means of a pestle, where the oil-press and the mill-stone, the pole of the threshing-floor, the potter's wheel and the cart wheel were unknown before the date of the Spanish Conquest and rotatory motion was associated with the fire-drill and spinning whorl only.
NEW WORLD.
The ancient Mexican name for the fire-drill = mamalhuaztli, and that for spinning-wheel=malacatl, are both derived from the verb malacachoa=to whirl, turn or drill. At the time of the Spanish invasion (A.D. 1519) the Mexican priesthood lit the sacred fire of the altar by an extremely primitive method of employing the fire-drill: by holding it tightly between the palms of both hands and rapidly rubbing them alternately forward and backward.
The Codices contain numberless pictures representing a priest, in the act of kindling fire by inserting the drill in a simple wooden beam, usually exhibiting several small holes or sockets. On the other hand the Borgian Codex, which has recently been placed within general reach by the generosity of the Duc de Loubat, shows us two elaborate representations of the great ceremony of kindling the holy fire in a large circular socket, on the body of a woman which, in all cases is combined with the image of an alligator (see p. [91]). In another Codex the alligator alone supports the socket. The smaller of these representations is reproduced in fig. [29], and on pp. [93-97] this image is discussed as well as the remarkable stone fire altars in human form, of which one has been unearthed near the city of Mexico, while no less than six were found at Chichen-Itza. My informant on this point is Mr. Alfred P. Maudslay, who added that they seem to have been invariably placed at the bottom of the stairs leading up to the temple, the façade [pg 505] of which is always supported by two great columns, each sculptured in the form of a great serpent with open jaws, the symbol which, in the bas-reliefs at Chichen-Itza and on the Central American stelæ, recurs on the head-dresses of the rulers termed “Divine serpents,” or “divine four in One.”
Postponing comment upon the curious analogy between the stone fire altars in human form, of the Mayas and Mexicans, with those of the Maghadas of Northern India, who called themselves the Sons of Magha = the socket-block whence fire was generated by the fire-drill, or the mother Maga, the sacred alligator, let us examine the fire-drill god of ancient Mexico.
Reference to fig. [1] reveals that it is impossible to see these Mexican representations, which I could supplement by others, and not be struck by their agreement with the descriptions of the Hindu pole-star god Dhruva, who stands on one foot, of the lame Hephaistos of Greek mythology, to which I would add that Hewitt also mentions in his preface to vol. ii the Norse Völunde, the maimed, one-legged turner of the pole; the god called in the Rig-Veda the Aja ekapad, or one-footed goat, who watched the revolutions of the solar disk, and the one-legged bird of Russian mythology, associated with a revolving house and fire-drill. In the Mexican Codices the Mexican Tezcatlipoca, held by one foot to the centre of the north, describes a circle around this. His foot evidently constitutes the fire-drill, which, inserted in the socket, causes smoke, also rain and a serpent to issue from it (see 5 and 6). One figure, representing one leg only in the fire-socket, and a head, exhibiting a small, smoking fire-socket, appears, in the light of comparative research, as a cursive method of representing the fire-drill god, universally associated with Ursa Major.
It is remarkable that, in one case water and in another smoke, indicating fire, issues from the socket of Tezcatlipoca's fire-drill, and that, opposite to the picture in the Borgian Codex, representing the kindling of fire on the fire-altar, we have the image of a pool of water from which four figures spring toward the cardinal points (see fig. [29]).
It is only after recognizing that, like the people of the Old World, the Mexicans associated with the fire-drill and socket not only the distribution of fire and heat, but also of water, that we also fully grasp the symbolism of the symbol of the “Black or Night Sun,” [pg 506] from the “Life of the Indians,” which is but one of many simple forms exhibiting main features which recur on the highly elaborated Mexican stone of the Great Plan (fig. [73]b). When placed in juxtaposition the undoubted resemblance between the Babylonian image of Shamash and the Mexican image, as well as the deep-seated identity of these two quadruplicate symbols stands out clearly: in the Babylonian, wavy lines emanating from the centre convey the idea of some fluid essence. In the Mexican, instead of the wavy lines, the conventional representation of a drop of water is depicted—the idea in both cases being obviously identical and agreeing with the primeval universal conception of heat or fire, and water emanating from a common source, and flowing to the cardinal points. In both cases an axle or socket is represented, and it is instructive to study the different ways in which the symbol recurs in the Mexican Codices.