The Lords of the Ghostland. Saltus Edgar
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href="#ulink_89c14a35-739f-56a5-8da3-f49b75ff01f8">[10] The expression is notable, for the song of the sky is thunder and the theophany that of Sinai. There is another rapprochement in Babylonian lore and a third in the Eddas, where it is related that to Sigurd the secret of the runes was sung.
[10] Rig-Veda, i. 151.
Meanwhile, the revelation completed and proclaimed, Zarathrustra died as miraculously as he was born, foretelling, as he went, the coming of a messiah, his own son, Coshyos—the delayed fruit of an immaculate hymen that is not to be fecund until the end of time—but who, at the consummation of the ages, will rejuvenate the world, affranchise it from death, vanquish Ahriman, terminate the struggle between good and evil, purify hell and fill it full with glory. Then the dead shall rise and immortality be universal.[11]
[11] Zamyad Yasht. xix. 89 sq.
Zoroaster is obviously mythical. The Buddha is also. But precisely as the Buddhist scriptures exist, so also do the Zoroastrian. They do more. Frequently they enlighten, occasionally they exalt. Written in gold on perfumed leather, the original edition, limited to two copies, was so sacred that it was sullied if seen. Burned with the palace of Persepolis—which Alexander, the Great Sinner, in a drunken orgy, destroyed—only fragments of the fargards remain. These tell of creation, effected in six epochs, and of a pairi-daêza.
Delitzsch voluminously asked: Wo lag das Paradies? There it is. There is the primal paradise. In it Ormuzd put Mashya, the first man, and Mashyana, the first woman, whom Ahriman, in the form of a serpent, seduced. Thereafter ensued the struggle in which all have or will participate, one that, extending beyond the limits of the visible world, arrays seasons and spirits and the senses of man in a conflict of good and evil that can end only when, from the depths of the dawn, radiant in the vermillion sky, Coshyos, hero of the resurrection, triumphantly appears.
The parallel between this romance and subsequent poetry is curious. In Chaldea, before the fargards were, the story of Creation, of Eden, and of the fall had been told. In Egypt, before the Avesta was written, the resurrection and the life were known. Similar legends and prospects may or may not represent an autonomous development of Iranian thought. The successors of the problematic Zarathrustra, the line of magi who wrote and taught in his name, may have gathered the tales and theories elsewhere. In the creed which they instituted there is a trinity. India had one, Egypt another, Babylonia a third. Babylonia had even three of them. But in Mithra, Iran had a redeemer that no other creed possessed. In Coshyos was a saviour, virgin born, who nowhere else was imagined. In Mara, Buddhism had a Satan. The Persian Ahriman is Satan himself. Babylon had angels and cherubs. In Iran there were guardian angels, there were archangels with flaming swords, there were fairies, there were goblins, the celestial, the poetic, the demoniac combined. Zoroasterism may or may not have had a past, it is perhaps evident that it had a future.
An inscription chiselled in the red granite of Ekbatana describes Ormuzd as creator of heaven and earth. In the Veda the description of Indra is identical.[12] It was applied equally to Jahveh in Judea. But above Jahveh, Kabbalists discerned En Soph. Above Indra metaphysicians discovered Brahma. Similarly the Persian magi found that Ormuzd, however perfect, was not perfect enough and, from the depths of the ideal, they disclosed Zervan Akerene, the Eternal, from whom all things come and to whom all return.
[12] R. V. x. 3. "Indra created heaven and earth."
That conception is not reached in the Avesta. It is in the Bundahish, a work which, while much later, is based on earlier traditions, memories it may be, of antediluvian legends brought from the summits of upper Asia by Djemschid, the fabulous Abraham of the Persians of whom Zarathrustra was the Moses. But in default of the Eternal, the Avesta contains pictures of enduring charm.
Among these is a highly poetic pastel that displays the soul of man surprised in the first post-mortem ambuscades. There a figure, beautiful or revolting, cries at him: "I am thyself, the image of thine earthly life."
If that life has been beautiful, the soul of man, led by itself, is conducted to heaven. Otherwise, led still by itself, it descended to Drûjô-demâna, the House of Destruction, where, fed on insults and offal, it waited till its sins were destroyed. The waiting might be long. It was not everlasting. There was Mithra to intercede. Besides, evil was regarded but as a shadow on the surface of things. In the seventh epoch of creation, a period yet to be, the age which Coshyos is to usher, the shadow will fade. The wicked, purified of their wickedness, will be received among the blessed. Even Ahriman is to be converted. In that definite triumph of light over darkness is the resurrection and the life, life in Garô-demâna, literally House of Hymns, a pre-Christian heaven, yet strictly Christian, where, to the trumpetings of angels, hosannahs are ceaselessly sung.[13]
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