The treatment of hair cuttings and nail pairings in traditional, ancient Zoroastrianism is a very controversial subject among modern Zoroastrians. The ancient Zoroastrian customs surrounding hair cuttings and nail pairings are especially a thorny theme for great many Iranian Zoroastrians who prefer to deny such rites and ancient customs, and dismiss them as frivolous superstitions.

However, the ancient Zoroastrian practices with regard to special treatment of hairs and nails seem to go back to the very beginning of the Indo-European creation myths.

In Vi-daæv-dát 17 (laws/formulas against demons) 1-6, Zarathustra asks the Wise Lord, what is the act for which a certain demon, aôša (literally “scorching, destruction” is let loose in the world. The Wise Lord replies, when one arranges and cuts his hair and clips his nails, and then lets them fall into holes in the earth or into furrows without proper rites and formulas, demons come forth, and from these improprieties monsters come forth from the earth.

When you arrange and cut your hair and clip your nails, you should bear it ten steps from righteous men, twenty steps from the fire, thirty steps from the water, and fifty steps from the baresman (bundle of sacred twigs.)

Then you should dig a hole. To that hole you should bear the cuttings. Then you should pronounce these victorious words/formula Zarathustra: “Now for me may Mazda make the plants grow by means of ašá”(excellence, truth, radiant right.) You should then plow 3 or 6 or 9 furrows for xšathrá vairya (chosen dominion, kingship, power,) and you should recite the ahüna vairya formula 3 or 6 or 9 times.

There is much that is fascinating in this Vi-daæv-dát passage: the need to carry potentially impure hair cuttings and nail pairings away from sources of pure life (righteous men, fire, water, and sacred twigs), the use of furrows to mark off sacred space, and the instantaneous begetting of serpents and monsters from hair and nails that are improperly disposed of.

In Norse mythology we encounter an identical idea. We read in GYLFAGINNING 55 of the Poetic Eddas:
… Then (at the time of Ragnarök) the Fenris wolf is loosed, and the high sea dashes upon the land, for the Midgard serpent turns about with a giant’s rage and assails the land. Then it happens that the ship called Nagl-far “Nail-Ship” is loosed. It is built from the nails of dead men, and therefore it is worthy of a warning: if a man dies with uncut nails, then he increases the material for the ship Naglfar greatly, which æsir and men would wish to be slow in being built. And in this wave, Naglfar becomes sea going, and the monster who steers Nagl-far “nail-Ship” is called Hrym.

Nagl-far, the “Nail-ship’s,” basic idea is the improper disposal of hair or nails which threatens the well being of the cosmos-does go back to the Indo-European period, as can be seen from the comparison with ancient Zoroastrianism.

The text of In Vi-daæv-dát 17 prescribes the recitation of a victorious formula for the hair cuttings and nail pairings before they are properly buried in earth, namely “Now for me may Mazda make the plants grow by means of ašá” (excellence, truth, radiant right.)

The sacred formula prescribed is the heart of the Vi-daæv-dát passage. In particular it is a quote from the poetic gathas of Zarathustra (Yasna 48.6 3^rd rhymed verse line), which has been put to a creative magic use.

The gathic formula becomes a potent magic spell here by which the proper disposal of hair and nails leads to the growth of vegetation. What we have here is the subconscious association of hair and nails with the plant world, and we have the right formula to dispose of hair and nails by burying them properly in the earth.

In the creation myth of the ancient Indo-Europeans, the worlds are established by the primordial, pristine offering, Yemó “Twin,” the worlds are built up. Yemó’s skull became the heavens, his eyes the sun and moon, and his blood the seas; and, his hair became the plants and trees.

We read again in Norse mythology, poetic edda, GRÍMNISMÁL 40:
From Ymir’s flesh
The earth was made,
And from his blood the sea,
The mountains from his bones, The trees from his hair,
And from his skull, the heaven.

A very similar parallel is found in an eschatological Zoroastrian passage from bün.dahišn 30.6. The context is that Öhrmazd (Middle Iranian for Ahûrá Mazdá) is explaining why bodily resurrection is possible:

“Observe that, when that which was not was then produced, why is it not possible to produce again that which was? For at that time, one will demand the bone
from the spirit of earth, the blood from the water, the hair from the plants,
and the life from fire, since they were delivered to them in the original, pristine creation.”

In the eschatological bün.dahišn text above, the cosmogony is explained in reverse. The whole idea is that if proper disposal serves to create the cosmos, then improper disposal can create chaos out of cosmos.

Like almost every idea and ritual in Zoroastrianism, our practices and beliefs go back to the primordial Indo-European days. Though at times, they might appear strange or unfamiliar to us today, nevertheless they have deep meanings for subconscious mind, and teach us the subtleties of subconscious symbolism and myths in myriad ways.

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The Primeval God-powers or Ahûrás/Titans of ancient Zoroastrianism do NOT correspond directly to Vedic deities themselves but are identifiable with the formidable powers/brilliant qualities of the Vedic Gods. In cases, that there is a direct connection to a Vedic deity, the Vedic God at hand is mostly a fading, marginal, almost forgotten god being in the Vedas.

In the poetic Gāθās/Songs of Zarathustra, Mazdá Ahûrá is the supreme ahûrá, the source of Godhood, and the progenitor of of all the Primeval Titanic energies.                                   

Mazdá is Ahûrá par excellence in Zoroastrianism, because he is “the genius power of mind to create, establish, summon into being.”

Mazdá Ahûrá of the Gāθās/Poetic Songs of Zarathustra have become Ahûrá Mazdá of later Zoroastrianism. Vedic Varuna has often been equated with Ahûrá Mazdá but the ancient Várshtmánsar commentary of the Gāθic Songs (in Yasna 32,) strongly contradicts any such comparison between Ahûrá Mazdá and Varuna.

However some of the superb qualities  that make Varuna, “ásura/god- power par excellence” in the Vedas are interchangeable with Mazdá Ahûrá of the Gāθās.

For example in Rig Veda 8.6.10, we read that Varuna is medhām “intelligent, mindful, insightful” as to r̥tá “rhythms, and formulas of the cosmic order, ”r̥tásya jagrábha. The epithet of Varuna here, Medhā “intelligent, mindful, wise,” is a cognate of Mazdá.

In Rig Veda 7.087.04a, Varuna is also called medhira “full of intelligence, mind-power and wisdom.” The epithet medhira corresponds to Gāθic hû-mánzdrá in Yasna 30.1, 3rd rhymed verse line.

There is NO ásura medhā in the Vedas, however the closest term to Avestan Ahûrá Mazdá is the ásurasya māyáyā in RV 5.63.7 namely the “magic of the ásuras, the magical substance, mind stuff of the Gods,” namely the power of mind to create, establish, manifest into reality.

Among the other Primeval Titanic energies in the Gāθās, known as the “Auspicious Immortals” in later Zoroastrianism, are aṣ̌á/arthá (right fit, precise order, excellence,) and vohü manö (good, genius mind, creative thinking.)

Aṣ̌á/Arthá (right fit, precise order, excellence,) is etymologically and semantically related to Vedic ṛtá.  Both aṣ̌á/arthá and ṛtá are intimately linked with brilliance, illumination and fire. But unlike Avestan aṣ̌á/arthá, Vedic ṛtá does NOT appear as a primordial god being or primeval titanic power in the Ṛgveda.                                                                                                                                 

Also, the distinct opposition between aṣ̌a and druj (Truth/Right Order verses deceit, lie; Vedic drúh,) that is of fundamental importance in the Gāθās, is absent from the Vedas. So is the opposition between the followers of right order, excellence (aṣ̌avan) and the followers of duplicity, falsehood (drәgvaṇt,) and the distinct contrast between the primordial gods/titans, ahûrás, and the daævas, which, contrary to their Vedic cognates (deva), appear as anti-gods/diabolic powers in the Avestan Lore.

The Vedic Vasus or Vásavah (the Good, Brilliant Ones, Wealth Givers) that are a class of deities headed by Indra, correspond in very general terms to the Primordial Titanic Energy of vohü manö (good, genius mind, brilliant, creative thinking) in the poetry of the Gāθās.

Indra, however is an arch demon in the Zoroastrian texts starting with the Avestan Vīdēvdād (10.9; 19.43). Interestingly, it is the Avestan “Good, Superb Order” (Aša Vahišta), who is assigned with the task of annihilating Indra. The annihilation of Indra at the hand of “superb order/artistry of the Immortals, asha vahishta” is mentioned in the Gāθic Várshtmánsar commentary of Yasna 48.1.  In the Várshtmánsar commentary of Yasna 32,  Indra is the arch demon that “freezes the minds of the creatures from living in “excellence, right fit, precise order of ashá.”                         

Among the other Primordial Titanic powers or Auspicious Immortals, Ármaiti (perfect focus, serene contemplation/meditation) has a Vedic Cognate, arámati. However, arámati is already a fading goddess in the Vedas.

Old Avestan/Gāθic Ameretát is the Titanic energy of “Immortality, Deathlessness,” and corresponds to Vedic term Vishve Amritás, “All the Immortals.” However, a powerful, personal, primeval Titanic energy embodying “ deathlessness, agelessness, becoming forever vigorous, and Immortal like the Gods” is not present in the Vedas, nor is there a connection between Immortality and sacred trees in the Vedic texts.

The Old Avestan/Gāθic primeval titanic power Haurvatát, “source of every healing, wholeness,” is compatible with minor Vedic deity Sarvátāti, “intactness, perfection.”

The major Gāθic god-force of “harkening, listening to the melody of the Immortals,” Sraôšá, corresponds to the Vedic concept of Shruti, (listening, hearing wisdom of the Gods.) But here again, Avestan Sraôšá has a colorful, personal aspect that is entirely absent in the Vedas.

In the Avesta or the sacred literature of Zoroastrianism, it is Sraôšá that reveals, and communicates the Gāθic manθrás, “powerful poetry/most effective mind formulas” to Zarathustra.

Avestan Miθra and Vedic Mitra both personify “friendship/love” for the Immortals, “our duty toward, and reciprocal contract with the God powers.” Yet, the Avestan Miθra has a much more colorful, formidable, personal, and heroic aspect to him than the Vedic Mitra.

Furthermore, the relation/reciprocity between man and Immortals/titanic energies (personified as Miθra in the Avesta) is much more “personal, immediately present, and mutual” in the Gāθās and the rest of the Avestan lore.                                           

Powerful epithets of Miθra such as “having strong arms and carrying a wondrous club” can not be found in Vedic Mitra. However, same epithets appear as virtues/powers of the The Vedic Indra.                                                           

Gāθic Vәrәthra-Jan (Yasna 44,) the later Avestan Vәrәthragna is the god-force of VICTORY, TRIUMPH, and the SMASHER OF OBSTACLES.  The Great Yazata of “Victory, Triumph,”  is highly revered in Zoroastrianism. Vedic Vṛtrahán (Smasher of Obstacles) is a cognate.

Yet again, we clearly see that the great Zoroastrian god force of “Victory, Triumph” Vәrәthragna, corresponds to a very powerful attribute of Indra rather than to the Vedic Deity himself.

Avestan Vata, “Wind, air, atmosphere,” also called Vaiiu (Vāyu,) has domains and functions in common with the Vedic deity of Wind. Yet, the dual nature of “air, wind, atmosphere” in the Avesta is entirely absent from the Vedas nor does the Vedic deity of “atmosphere, wind” partake in any great eschatological battles between good and evil.           

The Gāθās conclude with the “ideal of noble fellowship,” Airyemá Išyö. The Avestan Airyaman personifies “Nobility, Honor, Restoration to Life.” In the Várshtmánsar commentary of the concluding hymn to the Gāθās, the eschatological importance of Airyaman, “noble fellowship” is highlighted.  While the Vedic Aryaman is a cognate, but again the great eschatological role of the Avestan god-force of “honor, nobility,” is absent in the Vedas. It seems that Avestan Airyaman shares much more in common with the roles and functions of the Old Norse Irmingot  and the Irish Éremón.                                                   

The god beings that share most the cognate functions and roles in both Vedas and the Avesta are “the water-titan” Apąm Napāt, the “messenger of the Immortals,” Avestan Nairiiö-saŋha, Vedic Narāśaṃsa, the god-hero of healing Θrita (Trita), the goddess of dawn Ušah (Usạs.)

To the top of the list shall also be added Ātar and Agni, the god beings of fire, or Arәdvī Sürā Anāhitā “Mighty Lady of Pure Waters,” and Sarasvatī, who both confer rain, fertility, and eloquence.

The hymn to FIRE lies at the heart of the most sacred Yasna ceremony. Yasna consists of 72 sacred hymns, and the hymn to FIRE is right in the middle or at hymn 36. 

Yasna means literally “to yearn, long for,” and are hymns in praise of the fire, the waters, and Haoma “elixir of forever, eternal life,” that are placed around the Old Avestan core of the most powerful Gāθic manθrás. 

Haoma is the “elixir of forever/eternal life.” Vedic Soma, “Drink of the Gods” is a cognate. The status of Haoma in the Gāθās is disputed among scholars. But based on tradition and many scholarly views, it is CLEARLY NOT Haoma that Zarathustra reviles in his sacred poetry but the bloody sacrifices and killing of innocent animals that accompanied the Haoma preparation ceremonies before the dawn of Zoroastrianism.

The original  Haoma plant was most likely Peganum harmala [Flattery & Schwartz, 1989,] but later in ritual practice it was  replaced by ephedra (very similar to Mormon Tea.) During Yasna ceremony a sacred drink is prepared by the priests reciting powerful manθrás in honor of Haoma and other god beings. During the ceremony the ephedra twigs are mixed with pomegranate twigs, holy water, and milk/ cream. 

The early first part of the Yasna ritual and its preparatory service (where the sacred drink is not mixed with milk/cream) consists of pounding the consecrated liquid, and filtering the mixture.  

Compared with Vedic Soma, the Avestan Haoma has no direct relation to the legitimacy of the sovereigns and rulers, and symbolizes “nectar of Immortals, and life drops.” 

In the Avestan sacred lore, it is xvarәnah (fiery glory, divine charisma or good fortune) that gives legitimacy to rulers and sovereigns. However, this fiery glory of xvarәnah must be EARNED or captured, and is not an entitlement. The divine charisma of xvarәnah resides in depth of the oceans, and is cast on earth for the benefit of the living world by the Invincible Sun.

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We read in the Zoroastrian sacred lore that every mortal’s duty is to know these five things; One is this: “What am I, a man or a demon? Where have I come from, from Heaven or from the abyss? What do I stand by, by the virtues of the Gods or by the vices of the demons? Whom do I follow, the Good or the wicked? Where shall I go back, to HEAVEN or to hell?” 

To Fiery Heaven or the Stony Skies (Ásmán) is dedicated the 27th day of the Zoroastrian month. The substance of the heavens is described as made of “precious stone” asénö, also almást “solid diamond,”(See Pahlavi  Yasna 30.5, Dēnkard, p. 829.15; Dādistān ī dēnīg, question 90.)

We also find in ancient Greek poetry reference to Akmon, as the father of Ouranos, (the personified Heaven/Sky.) If Greek κμων was an old word for HEAVEN, like Ásmán in the Avestan speech, it might have been that Akmon and Ouranos (as personifications of “Heaven/Sky”) were harmonized by making Akmon the father of the Ouranos, with both  terms either preceding or substituting for *Dyēus (Sky/Day.) 

It appears that the notion of “stony sky made of precious stones, and a solid, shinning firmament” was part of the Indo-European world view. Many scholars have concluded that reconstructed Indo-European *h2emōn meant both “stone” and “heaven/sky.” The source of the idea may have been the observation of fiery meteorites falling from the sky.

All cognate words for Avestan Ásmán in other languages mean either “heavenly stone or  Sky:” Vedic ásman, Lithuanian akmuõ are such examples. The Vedic ásman– “thunderbolt” is used among others of Indra’s weapon, and in Lithuania the Baltic God of Thunder Perkūnas’ thunderstone is called Perkūnas’ akmuõ. In the Zoroastrian sacred Lore Ásmán is also a mighty weapon of the Gods/Titans against diabolic forces.   

In view of some scholars, Germanic *hemena– (from which come Gothic himins, Old English heofon, HEAVEN, German HIMMEL) derives from the same ancient root. 

Zoroastrian sacred literature relates that Öhrmazd (Middle Iranian for the supreme God/Titan of ancient Zoroastrianism, Ahûrá Mazdá) formed his creatures out of “endless light” and kept them in his own body for 3,000 years, where they developed and were excelled by him. Finally he manifested each creature, in its proper right order, in the external universe. Accordingly the supreme God/Titan brought forth the HEAVENS from his HEAD.  

In the Avestan cosmographical account found in the hymn to the God/Titan of “Righteous REIGN,” RAŠN Yašt, the LEVELS páyag (literally footsteps,) of HEAVENS are as follows: the star station (stárö,) the moon station (mávn,) the sun station (hvaré,) then comes “the realm of the boundless lights” (anaγra.raôcā.) The realm of Boundless lights are the beginning point of “the most wondrous mental existence” or PARADISE, (vahištem manö, also vahištem ahüm);  the step above is the Highest Heaven or the House of Music/Songs of the Gods, (garö nmánæ.)

According to the accounts of Bün.dahišn (Basis, Foundations of Creation,) From the point of fixed stars in the star station, Heavens are impervious to the attacks of the “beaten, evil spirit” ahriman, and his host of diabolic demons. 

We read in the Poetic Gathas of seer/prophet Zarathustra: “Excellence chose the most brilliant, auspicious mind power, and the hardest, most precious stones/heavens, as his garb/vesture, ašem mainyüš spéništö//ýé ɦraoždištéñg asénö vastæ. 

Concerning the above verse in the Poetic Gathas (Yasná 30.5, 2nd rhymed verse line,) we read in the Varšt.mánsar commentary: that Ásmán the SKY is my garb/ancient vesture, which was established as the stone above all stones that is, every precious jewel is set in it; good thoughts, good words, and good deeds are my fuel, and I love those who are there in Brilliant Heaven through good thoughts, good words, and good deeds.

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The 9th month of the Zoroastrian sacred calendar, that is the last month of fall/autumn is dedicated to “hearth fire, and altar,” áθar/áthar. The great festival of fire ADAR.GAAN literally “singing hymns of praise to áthar/fire,” falls on November 24th of the seasonal Zoroastrian calendar. 

Veneration of the “hearth fire, and altar” goes back to early Indo-European/Aryan times. Yet, the veneration of fire seem to be much more prominent, and play a more central role in Zoroastrianism than any other Indo-European faith. 

The chief duty of áθar.ván/átharván priests is/was to keep the flame of the clan, and the spark of the Titans alive and thriving. Remains of “fire altars,” or elevated fire-holders of the Zoroastrian type, are known from Pasargád from the time of Cyrus the Great; and it is very likely that one of these altars was the Achaemenid dynastic, hearth fire, (Achaemenids were the First Ancient Persian Imperial House.) 

The Letter of Chief Priest Tansar (ed. M. Mīnovī, Tehran, 1936, p. 22, tr. M. Boyce, Rome, 1968, p. 47) establishes that the Parthian dynasty, (The ancient Persian Imperial dynasty following the Achaemenids) allowed their vassal kings to found dynastic fires; and that the Arsacids’ own dynastic fire was most likely the one mentioned by Isidore of Charax (Parthian Stations 11) as burning at Asaak in northeastern Iran. A general term attested for a fire temple in the Parthian language was átaröšan (preserved in Armenian as atrušan.)

The Yasná Haptaŋ.háiti liturgy, (Literally “Seven Chapters of prayers/yearnings, and joyous blessings”) is a most ancient Zoroastrian celebration of all the good, material creation which consists of priestly offerings to fire and waters. 

Strabo (Geography 15.3.15) writes of “temples of the magi” in Cappadocia in his day (around the beginning of the Christian era). Some were “temples of the “Airyan Gods” and “pyratheia,” i.e., fire temples, “noteworthy enclosures; in the midst of these there is an altar, on which there is a large quantity of ashes and where the magi keep the fire ever burning. And there, entering daily, they make incantations to the Gods for about an hour, holding before the fire, their twig bundles (barsôm.)

Avestan áθar/áθarš is a cognate of Old Irish áith “fireplace,” Welsh odyn “oven,”  Umbrian atru “open fire,” English atrium (from Latin,) and Persian átaš “fire.” 

In the Zoroastrian sacred lore Avestá, fire is a yazatá-, that is, “an adorable god” as well as a visible means for worshipping Godhood. Fire’s twin function in the Zoroastrian worship is mentioned at the beginning of the Vispa.ratü “all the right formulas, rites” as follows:

átrəm.ca iẟa ahûrahæ mazdā̊ puθrəm yaza.maidæ 

átarš.ciθrə̄s.ca yazatə̄ yazamaidæ

Fire, the prodigy, son of Ahurá Mazdá, we adore, 

Fire, the visible yazatá/adorable god, we adore.

In one Avestan hymn, fire is invoked as “the magnificent, great god” (mazišta– yazata-):

nəma.sə tē ātarš mazdā̊ ahurahe hu.ẟā̊ mazišta yazata.

Homage/Bow to you fire of Ahura Mazdā, the discerning, magnificent god.

Hearth Fire shares this title of “being great, magnificent” only with Miθra (Yt10.142 mazišta yazata, “magnificent, great god”) and Ahûrá Mazdá (Yt10.76 yō mazištö yazata.nąm, “the greatest, most magnificent of all the Gods.”) 

In the poetic gathas/songs of the seer, prophet Zarathustra, fire is the visible sign of ašá/arθá, “excellence, right order, higher truth.”In the Gathas/Poetic Songs, fire illuminates, clarifies, and is in ceaseless fight against all that is opposed to ašá/arθá, “excellence, truth.” This warrior nature of the fire, and its ceaseless fight against all that is opposed to “higher order/truth” is symbolized by the enthronement and consecration of the “Victorious Fire” or Átarš Vahrám the highest grade of earthly fires in the Zoroastrian ritual. The priests escorting the Victorious Fire carry swords and maces; and after the ceremony some of the weapons are hung on the sanctuary walls of the fire temple to symbolize the victorious battle of light against darkness. 

The other Zoroastrian god of Fire, nairiiö.saŋha literally means “Manly, Brave, Teachings.” Avestan nairiiö.saŋha is the messenger of the Titans/Gods, and corresponds with Prometheus (The god of forethought in Greek mythology,) as well as with the Vedic samsa narya, See (RV 1.185.9a.) 

The Gathas/Poetic Songs of Zarathustra also talk of “judicial ordeal with fire” (Yasna 47,) and the “fiery flood of molten metal” which will cleanse the worlds at frašö.kereitî “the splendid, fresh new creation of the worlds,” (See Yasna 51.9.) Zoroastrian Frašö.kereitî, the “Splendid, fresh, new Creation” is the more ancient version of Ragnarök in Norse mythology.

In the Zoroastrian sacred lore, (See Avestá, Yasna 17,) Five fires are invoked.  First is the fire called bərəzi.sava “fire of ascending weal, good fortune,” (Avestan bərəzi is a cognate with German Berg.) Second is the fire of vohü friyána the fire of passion, love that burns in the bodies of men and animals. Vohü friyána means literally “good friendship, love.” Third is the ûrvāzišta “the most joyful,” fire that is in “trees, plants” ûrvar (Compare with arbor;) fourth is the lightening fire that is in the clouds called vazišta “forceful, full of vigorous energy,” and lastly spə̄ništa “the most auspicious fire, the holiest, most sacred fire” which burns in the presence of Öhrmazd (middle Persian for Ahûrá Mazdá, the supreme God and source of Godhood himself.) 

The Zoroastrian vazišta “fire of lightening that is in the clouds” corresponds closely with the Old Norse gold fire of the sea and the fire of waters See Old Norse Skáldskaparmál 41. Also we read in Beowulf “it is by night a weird wonder to see fire on the flood fyr on flode …..I shall reward you with winding gold, (See Didie Calin Dictionary of Indo European Poetic and religious Themes page 96.)

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The traditional accounts of Zarathustra’s life are contained in the 7th book of holy Denkart (Denkart literary means “explanatory works on the revealed wisdom/vision.” Denkart is the largest, and most ancient commentary work on the Avestan sacred lore. While Avestá is the poetic, revealed wisdom/vision of the Titans, Denkart is the cornerstone in understanding the Avestá, and traditional Zoroastrianism.) 

The 7th book of holy Denkart provides several accounts of noble animals protecting the seer/prophet Zarathustra during his infancy. We read specifically in Denkart 7.3.8ff  that a noble she-wolf vǝhrkąm took the young Zarathustra along with her own cubs, and protected him from all harms. 

This most ancient account of Zarathustra’s legendary infancy clearly hints at a dual nature for wolf vǝhrká in the Zoroastrian sacred literature. Wolf is not just a symbol of thievery, thieves taiiüm…vǝhrkǝm or vicious, two-footed mortals, but wulf also has a noble warrior nature, and embodies bravery and honor. 

In Shah-námæ (The Great Persian Epic Poetry rooted in the Avestá, and Zoroastrian Mythology,) GURG.IN (Modern Persian for Wulflike,) is the name of one of the heroes during the reigns of Kay Kāvus and Kay Ḵosrow. GURG.IN is the head of the warrior Milād clan, and is also one of the eleven, fierce warrior-heroes in the story of the Davāzdah roḵ (twelve citadels, towers,) where he kills his Turanian adversary. 

The ancient, enchanted forests of northeastern Iran are also named after wolves and the area is known as land of the wolves, called Gurgān/Gorgán .

The statement of Greater Bün.dahišn (Basis of or Primal Creation book) in chapter 23.1 that wolf is a creation of the evil spirit, seem to be a later accretion, and not part of the original material. Wulf simply does not meet the definition of ḵrafastar or “reptilian monsters.” 

We come across the same dual nature reserved for fairies in the Zoroastrian sacred lore or the Avestá. Fairies pairikás often appear at the end of the formula daæva.nąm mašiiá.nąm.ča yáθvąm pairikan.ąm.ča that is “diabolic deities, mortal men, sorcerers, sorceresses, and fairies.”

According to Vendī.dád or the “Anti-demonic Law,” Fairies, pairikás must be fought, for they are the opponents of Fire, Water, Earth, Ox, and Plant.  It is also said that fairies pairikás fled when Zarathustra uttered the most sacred and powerful ahüna vairya formula. The latter account reminds one of the jinns’ response upon hearing bismillāh in the later Islamic lore (Donaldson, 1930, p. 186.)

Yet, despite this mostly negative background the term fairy parîg, appears as a benign, proper noun in Yašt 11.6 of the Avestá. 

Also, in the Pahlavi Vendī.dád (viii.31, 35; xiii.48) and Nērangestān (pp. 39v.15; 178r.8), Fairy, parî is the name of a venerable, female commentator of the Avesta. Such a name is a rare evidence for the existence of female commentators among Zoroastrian theologians.

To this day compound names of fairy parî, are very popular among Female Zoroastrians in names such as Parîzád, born from a fairy, parîvaš like a fairy, parîčehr, have the appearance of a fairy, and many other compound names containing parî. 

Other benevolent appearance of fairy occurs in the Pāzand Ayādgār ī Jāmāspīg (Messina, 1939, p. 40), where a noble woman from the legendary line of Hôšang is compared to a Fairy, parî (čūn parî.). 

In the Great Epics of Shah-námæ (rooted in the Zoroastrian Mythology and the Avestá) fairies, parî are always charming and pleasant figures. Fairies appear in several stories such as the “Reign of Jamšîd,” “Zál and Rūdāba,” and the story of “Bîjan and Manîjæ.”

In the Zoroastrian folklore, fairies parîs are referred to as az mā behtarān “they who are better than us” which reminds one of “the good people” of European fairydom.

The often repeated Old Avestan formula of daæváiš.čá

 mašiiáiš.čá that groups “mortal men” right after the “diabolic deities” points to a dual nature for mortal men as well. While men suppose to be the allies of the Titans ahûrás, and join in their struggle to manifest an age of eternal spring and splendid, pristine creation, the race of men have often been the instrument of the diabolic forces throughout their history on this good earth.   

I shall conclude by the following beautiful verse from The Persian Rubáiyát of Omar Khayyám who was himself a big fan of the ancient Zoroastrian religion of his forefathers: 

I sent my Soul through the Invisible,

Some letter of that After-life to spell

And by and by my Soul return’d to me,

And answer’d, “I Myself am Heaven and Hell.

This verse appears at the beginning and end of a film/novel unlike any other, one in which beauty, wit and horror are intermingled in a unique cautionary tale, the movie and masterpiece DORIAN GREY.

Sadæ is the great Zoroastrian-Iranian winter festival that heralds the coming of spring, and the gradual warming of the waters, the earth and plants. Sadæ is celebrated forty days after winter solstice, on or about January 30th. 

The festival of Sadæ is celebrated by making huge bonfires near running water or a sacred spring, and by drinking red wine with noghl or sugar coated almonds. Noghl is made by boiling sugar in rose water, and coating roasted almonds in the mixture. 

The festival of Sadæ has been forgotten among the Parsi Zoroastrians of India, but Iranian Zoroastrians are still celebrating Sadæ as a major part of their religious observances. 

It is believed in folklore that on the night of Sadæ the winter comes out from hell (Biruni, Āṯār, tr. Sachau, p. 226; Qazvini, p. 80) and, according to Biruni, in the City Karaj this night is called šab-e gazina (the biting night).

The etymology of the word sadæ is generally derived from the numeral sat (one hundred). Interestingly, the Indo European languages are divided into “satem” languages, from the Avestan word satəm “hundred,” and “centum” or westerly languages after Latin word for hundred or centum. 

The memory of the 150-days or 5 months of winter divided by sadæ in two unequal parts of  100 days celebrated on sadæ, and 50 days from Sadæ Spring Equinox can still be found in popular sayings, such as “ṣad bae Sadæ, panjāh be Nauvrooz (One hundred days that is Sadæ, from here 50 more days left to Nauvrooz or Spring Equinox.) 

Since Sadæ is considered to be the coldest night of the year, and on Sadæ night the frost and freezing cold suppose to come out from hell, it is possible that sadæ is etymologically related to Avestan çared “cold.” Sadæ night is also called  šab-e gazina (the biting/frost night.) 

The great scholar Mary Boyce mentions a major fire festival still observed by Iranian Zoroastrians which falls hundred days before Nauvrooz or Spring Equinox. This festival is named Sadæ in Kermán and Hīrômbáii in Yazd. Mary Boyce (1968, pp. 201-12; Idem, 1983, pp. 800-1) concludes that  Sadæ festival honors of the Zoroastrian yazata/god being of Rapiṯwin, the lord of Summer and Mid-day, who rules over the warm part of the year (that is, the seven summer months) and then descends under the ground in order to reappear on the first day after Spring Equinox. The ceremonies of Rapiṯwin farewell and welcome are observed by the Zoroastrians. Rapiṯwin is believed to make the plants grow and the fruit ripen, and, while underground, Rapiṯwin heats the roots and the underground waters from beneath, thus protecting the plants from cold. Accordingly, the bonfires festival of Sadæ help Rapiṯwin “the Lord of Mid-Day” to heat the earth and plant roots during the most severe cold bites and freezes. That is why Zoroastrians light their Sadæ bonfires near running water, sacred spring or over an underground canal (qanāt). 

This practice is confirmed by a description of fire reflected in water as part of the literary pattern, as can be seen in the poems by Manṣuri-Samarqandi (Jašn-e Sada, pp. 58-59),. The ancient Sadæ festival poems provide an exquisite description of fire, which  frequently compares the energy of fires to a plant, a flower, a fruit tree, a stack of corn, or a garden blossoming in a winter landscape. This imagery seems to go back to even older mythological concepts connecting the plant life with fire energy, (See the Poetic Gathas Yasna 48.6 and Yasna 49.8 for example.)  

Point is that the folkloric motif of Winter-and-Spring combat, and of the return of an energetic god power is predominant in Sadæ bonfire rituals. Simone Cristoforetti (1995) also stresses the dragon-killing motif of the Sadæ mythology and its broadly understood “ambrosian” aspects as conceived by G.Dumézil in his early works (1926, 1929).

ardeshir

We read in the the 27th chapter of Bün-dahishn, literally “the basis of Creation/Establishing of the Worlds,” that for each day of the month there is a flower that is appropriate for Ahûrá Mazda, and one of his Auspicious Immortals.  The list names the white jasmine as the flower for Vohü Manö, “Good Mind, Prosperous thinking,” and Jasmine flower as Öhrmazd‘s very own designated flower. The list continues for each of the  Immortals. This beautiful rite of worship reminds us that we shall invoke the powers of growth, renewal, life, and spring into our lives everyday. The most beautiful and holiest of Zoroastrian sacred holidays is the Spring Equinox. Nauv Rouz, “New Light or New Day” refers to first dawn after Vernal Equinox that signifies the triumph of life giving powers, victory of the spirit of the sun, and the boundless lights manifested in verdure and growth. For Zoroastrians the celebration of spring equinox signals the victorious coming of an eternal age of Immortals, an age of boundless growth and life giving powers, an everlasting spring without end, that will make the creation and the worlds splendid and newly fresh forever, “ frashö-kart.” But among the first rites to prepare for Nauvrooz is a thorough House Cleaning and a Personal Pätat or “going back or return” to Ahûrá Mazda and his Immortals. Our souls, homes, and lives must first be purified and cleaned before the life giving powers of life and the Gods can prosper and bless us. This Spring Equinox of 2020, the world entire is going through an unprecedented tribulation, the likes of which the history has not seen before. May this trying times be an opportunity to purify and cleanse our lives and the world, may healing come with triumph, victory and purity for all the good across the seven climes of this good earth. Ardeshir

Váršt-mánsar literally “most efficient mantras, mind formulas,” is the title of one of the 3 most ancient commentaries of the Poetic Gathas.  In the following series of articles, I will discuss the Váršt-mánsar commentary of each gathic, sacred song beginning with yathá-ahü-vairyö, the holiest formula of Zoroastrianism, the “will to become godlike.” 

According to this ancient commentary, yathá-ahü-vairyö teaches that whoever upholds the “godhood” of an ahü and “wisdom, counsel” of a ratü becomes worthy of the exquisite blessings of the physical worlds, and delights of the realms of the spirit/mind. 

Those deserve the “lordly mastery” of an ahü/ratü who in their very nature have “ingenuity, skill, vigor, and spirit.” Whom their inner selves correspond to the “godliness” of an ahü, and the “exceptional knowledge/right formulations” of a ratü, those who themselves uphold Godhood as a Model to imitate. 

(The ancient Avestan commentaries translate ahü as khodái “godhood.”Avestan ahü comes from the same root as the standard word for the old pagan deities in Norse literature áss, plural æsir. Ahü corresponds to Old English ōs “god, lordship,” and to the title ans(us) with which the Goths exalted their victorious Godkings. The rune *ansuz “titan, first gods” has the same meaning and connotation. Other cognates include Avestan ahûrá, aηhu, and Middle Iranian/Pahlavi öhr, Greek ἤϊος (êïos) “godly, lordly” (epithet of Phoebus,) Armenian այս (ays) “spirit,” Vedic असुर (ásura-) “titan, original gods,” and Hittite hassus “king.” See Didier Calin, Dictionary of Indo European poetic and religious themes.)

Love Me Zarathustra, (referring to vairyö “strongly desire, will” in the Avestan original,) as your supreme ahü “god,” and the “wellspring of sage advice” ratü, for you have the superb virtues of an ahü, “god,” and the “good judgment, right formulas,” of a ratü. Thus mortals shall uphold you as a Model.  

(In the Zoroastrian sacred lore, Ahûrá Mazdá is the highest ratü Model/Prototype of the celestial gods, and Zarathustra is the highest ratü Model/Prototype of the mortal men, See Vispered 2.4 as one such example. 

The term ratü is derived from Porto Indo European ∗h2er “to fit, discover the right formulation, proportions.” The ancient Avestan commentaries translate ratü as dastür “wise counsel.” Dastür is also the spiritual title for high-ranking Zoroastrian theologians, and expert jurists who are models/sources of emulation, and to whom Zoroastrian laity turn for authoritative advice and counsel. Dastürs provide religious interpretations on matters of law and rituals. Both in Ancient Avestan poetry, and Old English rune poems there is a clear connection between godhood and ōs “mouth, magic of speech, power to interpret, discover the right formulas.” We read in an Old English rune poem: Os byþ ordfruma ælere spræce//wisdomes wraþu ond witena frofur// eorla gehwam eadnys ond tohiht. The mouth is the source of all language// a pillar of wisdom and a comfort to wise men// a blessing and a joy to every knight. Courtesy of Didier Calin.

To this day in Persian literature, the term dastür is used in the sense of “instruction, prescription, model, master copy, right formula, rule, order of the day.” Interestingly, the term dastür was borrowed into Arabic as “constitution, pillar, rule, regulation.”)

As diabolic forces, and those who sow chaos face off with you in battle, you shall prevail, since you are a “wise counsel, well versed in right formulas.” For Not Upholding a ratü,” and Not grasping a “brilliant essence” is the law of demons. 

Ahûrá Mazdá upheld the Auspicious Immortals as Gods, and Prototypes/Models, (referring to the dominion of the ahûrás in the Avestan original.) 

For the Godhood of Ahûrá Mazdá is one and the same with his dátári, “creativity, use of imagination and brilliant ideas.” 

(This refers to dazdá man.aηhö “establish, create through mind power” in the Avestan original. *dheh1 is an ancient Indo-European verb for divine creation which means “to set in place, lay down, or establish.” The phrase dazdá man.aηhö is also a masterful wordplay on the name of the Supreme God, Mazdá from the ancient Indo European root *mens–dheh “power of mind, imagination, ideas, to create and establish.” In the Avestan lore, The Auspicious Immortals of Mazdá are called vohü.nám dátárö, Giver of all good things.)

This too, that through “creative ingenuity/excellence,” a ratü fulfills desire, is lordly, and has god powers, is a creator, and is a restorer, and cleanser of the dispossessed (drigü.) 

Also, all who have embraced the wisdom/vision of Zarathustra belong to the supreme heaven, the house of music/songs, (garöthman.) 

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According to the varšt-mánsar ancient commentary, aṣ̌em-vohü, the second holiest mantra of Zoroastrianism is about counsel to praise and worship aṣ̌á, “excellence, right order, truth.” 

(Avestan aṣ̌á or arthá is the “ingenuity, artistic skill,” to arrange into the “right order,” and establish the “effective rites and formulas.” aṣ̌á or arthá comes from reconstructed Proto-Indo-European *h₂er– “to fit precisely, put into right order, and proper sequence.” The ancient commentaries translate the term as ahrái: “godly virtues-powers, luminosity, authentic, and true nature of the Immortals.” In Zoroastrian vernacular ašöi refers to “excellence, goodness.” Aṣ̌em-vohü, mantra is also a wordplay on what is “superb, good, and the best,” vohü, vahištem, vahištái.) 

Accordingly, the quality of “excelling” is the true awe of Ahûrá Mazdá, 

The creation of the best existences, 

(existences here refer to astî, “what is,” in the original poetry,) 

The best state of wishes or prayers, 

(wishes refer to uštá “fulfillment of wishes” in the Avestan original, uštá comes from the root vas, “wish, desire,”) 

The great fellowship of “excellence, truth,”

Procreation of good offspring, and good family lineage, 

(offspring, lineage here refers to napát in the Avestan original. Old Norse nefi, Old English nefa, Old Persian napá, Modern Persian navæ are cognates,)  

Good passage into the realm of minö, “spirit, mind, ideas,” 

Evermore Joyfulness, 

(Again, “delight, great joy in what one desires” alludes to uštá in the Avestan original,)

Ease, comfort, and radiance of the soul, 

(Word play is common in Avestan poetry. Here uštá “fulfillment of wishes” is compared to radiance of dawn ušá, Indo European áusōs.)

Also, aṣ̌á “ingenuity, truth of Immortals” is the qualifying virtue of a ratü whose “task” is to be a wise counsel, 

(“task,” varez in Avestan, Old Norse verk, Old English weorc, English work are cognates.)   

aṣ̌em-vohü is the adoration and prayer to the ménos, “spirit, mind power” of “excellence, truth, and superb order.”

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According to the varšt-mánsar ancient commentary, yeŋhæ-hátám is about the words of Ahûrá Mazdá to Zarathustra of the Spitaman (white) Clan: ‘ Utter the hallowed words of prayer for us who are the Brilliant, Auspicious Immortals, since you have hallowed the waters, and plants, since you have hallowed the excellent, virtuous, prototypes, and what has been established/created in the realm of the “spirit/ideas/mind” as well as the physical creation. 

Thus spoke Zarathustra: I will utter the words of Ahûrá Mazdá that are against harm, and suffering, the good judgment/law of the Ahûrás, words that hallow, and are prayer to the Brilliant, Auspicious Immortals, (In the original hátám “those who are,” refers to the “Brilliant, Auspicious Immortals” of the supreme god Ahûrá Mazdá.) 

The word “hallow” is “yaz” in the original Avetsan, a cognate of Greek házomai, hágios “purify, honor as holy.” The idea of worship in Zoroastrianism is “invocation of the pristine Godhood, and restoration of the worshipper to pristine vigor and health.” 

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The ancient váršt.mánsar commentary of the first song of the Gathas (Yasna 28) starts with the discussion of yánîm manö formula. Yánîm manö is a short preface to the first sacred song. Accordingly, the ancient seer/prophet of the Indo-Europeans, Zarathustra, is the model for mortals. Zarathustra is worthy of exquisite goodness because of his wonderful  thoughts, words, and deeds. Good thoughts, good vibes, good words, and good deeds translates into a good, wonderful life. 

We are the illuminators of our own happiness. We create our own heaven and/or our own hell. Godhood, goodness, light, and happiness shall be our choice, and the wondrous focus of our thoughts, words, and manifestation in our lives.   

The commentary then focuses on the word paourvîm “first, foremost, earliest, incomparable in excellence,” a cognate of Old Church Slavonic prьvъ, and from Indo-European prH-uo. 

The ancient commentary then discusses the foremost position of Ahûrá Mazdá, the incomparable excellence of the very self of Ahûrá Mazdá, the prime importance of the spirit of communion/prayer, and homage to the Hallowed Immortals. About performing all the good works as part of the homage to the Hallowed Immortals. About accepting the superiority of a virtuous, wise man, bringing gifts of good offerings to fire, upholding the beautiful religion (Zoroastrianism,) the innate mind-power, magical craft of the Creator (xratü,) and the measure of each act according to his desire (kám,) recognition of the life-giving powers or what is sacred/auspicious (speñtá) in signs of nature/creation, grasping the auspicious, life-giving teachings, lessons, adapting of the self to the luminous vision from the earliest ages to finished completion, and the passion/heat of Zarathustra in communion with, and prayer to Hallowed Immortals was truly unique.  

The first three words of the Gathas are ahyá yásá nəmaŋhá. 

The first word ahyá (Vedic asyá) refers to the very “self/essence”of Ahûrá Mazdá, and is compared to the last word of the Gathas vahyö “better, more excellently, surpass.” 

The second word yásá means “to worship, to yearn for, hallow.” Yásá refers not only to “pristine worship, adoration” but to “Hallowed Immortals,” the pure, adorable yazatás.  

Nəmaŋhá originally refers to “nodding of the head,” but the meaning is more like wondrous presence of Godhood through communion, prayer and homage. Nəmaŋhá has become namáz and niyayesh in Persian. 

The idea of Latin numen, and numinous beauty are almost the same. Greek nљmoj [n] Latin nemus [n] “holy forest” are other cognate examples. 

The “spirit of homage, prayer” in the ancient commentary refers to the gesture of “raising hands upwards” during prayer or us.tána zastö in the Avestan original  

The innate mind-will power, magical craft of the Creator (xratü) is a cognate of Greek kratЪj [adj] “skillful, magically powerful.” Old Norse horskr [adj] “clever, fast, courageous” could also be related. 

Spəṇtahyá/Spəṇtá is a term of the greatest significance in the Gathas and Zoroastrianism. This is the word represented by Old Slavonic svętŭ (Russian svjatój), Lithuianian šventas. Avestan Spǝntá which is translated by “sanctus” has a fundamental importance in the religious vocabulary of the Avesta. With another adjective amǝrǝta (amǝša) “immortal,” it constitutes the title amǝša-spǝnta, the “Auspicious Immortals” of the supreme god Ahûrá Mazdá.  The primary sense, meaning of spǝnta is “to swell in life giving powers, to grow in strength and prosperity.” The notion of “the sacred” is invested with a power of auspiciousness, and effectiveness which has the property of increasing, augmenting. The translation and the commentary of the Avesta in middle Iranian translates spǝntá by afzönīk “increasing, prosperous,” rune fehu entertains the same concept in Old Norse poetry. 

The ancient commentary of Váršt.mánsar translates rafəδrahyá from the root raf/rap as garmuki literally “warmth, passion heat.” The word refers to  passion of Zarathustra in praying to Hallowed Immortals and joyously accept the beauteous presence of Godhood.  The word according to most linguist scholars is uniquely Indo Iranian, but Tocharian rapurne “passion, strong emotions” seem to convey the very same idea.

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The Poetic Songs/Gathas of Zarathustra start with Yasna 28, with the word ahyá (self, essence.) The last word of the Gathas is vahyö, (better, more excellently.) 

In the ancient Mazda Worship, ahuras are “primeval god powers” who continuously strive to better themselves. Zoroastrianism sees eternal journey towards “continuous betterment, more excellence” as the essence of Godhood, and union with the Hallowed Immortals through xratü “wisdom, creativity splendid craftsmanship/skill,) as the fundamental purpose of mortals life.

The váršt.mánsar commentary of Yasna 28 states that Zarathustra as model/source of emulation  for mortals has come to the supreme heaven, the abode of songs (referring to méṇ gairæ in the Avestan original.) 

In the Zoroastrian creation account, the supreme god, Ahûrá Mazdá has created the worlds by his “melodious songs, power of mind/imagination, and great music.” It shall be added that the Avestan word for “song, melodious poetry” gairæ here has Celtic “Bard” as cognate. 

The váršt.mánsar commentary identifies the abode of songs with the heaven of “good, superb mind, bright ideas” of vohü man.aŋhá. It is said that in the realm of “good, wondrous mind, creative imagination” of vohü.man, the wisdom (vîduš) of all that has been done in the physical dimension as well as all that will be done, though may be hidden to us here, are readily apparent. Also, that good works have their optimal prospering (áyaptá.)  

And from wondrous qualities of the supreme heaven of songs/music is the indestructibility (aγžaônvamnəm) of all those who have their genesis in good thoughts, and bright ideas. Furthermore, at the splendid, fresh, new creation of the worlds (Farš.kard,) the supreme “heaven of songs/good mind, creative imagination” descends to the star station, and the earth is lifted up there. 

(The Indo-European form of Avestan aγžaônvamnəm is dhgwhei-.)

In the Avesta or the Zoroastrian sacred lore, before the supreme heaven, there are the star, moon and sun stations. These three stations respectively represent the abodes of good thoughts, inspiring words and great deeds.  

The idea here is to restore paradise, supreme joy here on earth, and restore the numinous beauty and excellence that is inherent in the pristine creation. 

It is this realm of good mind, superb ideas that needs to be consulted and asked always. 

Ardeshir

The Váršt.mánsar commentary of Yasna 28 talks about the “eyes of excellence,” and “luminous vision of higher truth” ašəm through the “sublime words of the Brilliant, Auspicious Immortals.” 

Áiš in the Avestan original is understood/read as a variant of ašî “eyes, vision.” The ancient commentary connects the word for “eyes, vision” in verse 11 with ərəšuuáiš uxδáiš “sublime, truthful words” of the Omniscient Godhood in verse 6.

(Tocharian ak/ašãm, Vedic ákśî, Lithuanian akis, Old Norse auga, German auge, English eye are cognates.) 

Our lives are a reflection of our held beliefs, and perceptions. In many ways, our perceptions create our reality. In the Poetic Gathas, we shall see the worlds entire through the luminous vision, and the fiery eye of “excellence, higher truth, and superb order of Immortals.” 

In the Zoroastrian sacred lore or Avesta, Sun is the eye of Ahura Mazda. The fiery eye not only see everything, but gives life to, and creates anew the worlds entire in boundless light, and wondrous truth. It is the wisdom, and inspiring words of the Mindful Lord, Mazda, and his Brilliant Immortals that endow us with the gift of foresight, luminous vision, and powers of a higher, marvelous perception.   

The analogy of sun and eye finds various expression in Indo-European languages. In Norse skaldic verse “suns of the forehead” (ennis sólir) is a kenning for the eyes. The Armenian aregakn “sun” means literally “eye of the sun.” a compound of the genitive of arew ‘sun’ with akn “eye” harkening to a time that Armenian were Zoroastrians. 

Euripides, a tragedian of classical Athens propounds a cosmogonic theory by which the divine Aither created living creatures, endowed them with sight, and made the eyes in imitation of “the sun wheel.”  

A Homeric epithet of Zeus is ε􏰘ρ􏰙οπα, “with wide vision.” The Greek poet Hesiod whose works describe the genealogies of the gods, warns unjust rulers of Zeus immortal watchers, clothed in darkness, traveling about the land on every road, who watch over mortal men every ruling, judgment, and wickedness. In the Iliad it is the Sun who oversees everything, and for that reason the Sun is invoked, together with Zeus, as a witness to oaths and treaties. 

In the Vedas, the eye, the wide vision, and the myriad immortal watchers that the ancient Greeks ascribe to Zeus, are ascribed to Varuna, or the pair Mitra–Varuna, that are wide of eye (urucáksas-, 1. 25. 5, al,) and who have watchers who come hither from heaven.  

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We read in the Várštmánsar commentary of Yasna 28 that the“Auspicious, Brilliant Immortals” come for assistance/help through Seraôša, or “readiness to listen, and be inspired by the life increasing god-powers.”  Seraôša is derived from srū- “to hear,”  Greek κλ􏰂ο􏰃 “fame, report,” Church Slavonic slovo “word,” Old Irish clú “fame,” Tocharian A klyu, B kälywe “fame” are cognates.  

In Zoroastrianism, mortal men come into possession of eternal fame, and glory by hearkening to, and living in the songs and melodies of the “brilliant, life increasing god-powers.” Like the other  Aməṣ̌a Spəṇtas or “Auspicious, Brilliant Immortals,” Seraôša appears both as an abstraction, and as an individual god force, and is a major yazatá “hallowed, god being” in Zoroastrianism. The first appearance of Seraôša is in Yasna 28 in the form of “səraôšəm mazdái.”

The supreme god of Zoroastrianism Mazdá, and the ancient Greek Muses who inspire with creative ideas, and wisdom, both have their linguistic roots in *men(s)-dh(e)h1, the word for “learning, discovery, to place in the mind/memory.” 

The ancient Greek poets claim to derive their knowledge from the Muses whom the poets “only HEAR their fame/glory” (κλ􏰂ο􏰃). In ancient Zoroastrianism, it is Seraôša who makes the wondrous wisdom of the Immortals HEARD, and inspires with higher knowledge/superb wisdom of the Mindful Lord, Mazdá. 

Ahûrá Mazdá has revealed his luminous vision/wisdom through Seraôša, and made him the teacher of revelation/vision (Yt. 11.14: daænö.disö.) 

It is Seraôša who first recites the Poetic Gâthâs, and reveals their meaning/mystery in the realm of thought/mind. Seraôša is the lord of the sacred speech, the magical language of the Gods, the Gâthâs, who are the melodic model (pristine prototype) of the original ideas, creative music of the ahuras, a kind of blueprint of the creation of the worlds, and protector against chaos/evil. 

Seraôša plays a crucial role in combating the forces of chaos, darkness, and other diabolic beings in the camp of stagnation, evil. In the Váršt.mánsar commentary of Yasna 28, it is the Inspiring Wisdom of Mazdá that tears apart the enmity, hatred of the diabolic forces daibišuuatö duuaæšáv tauruuaiiámá. It is Seraôša or Sröš who helps Zarathustra restore the pristine religion of the ahûrás, and cleanse the faith of the Aryás from impurities of the diabolic powers. 

In the sacred Avestan lore, Zarathustra RESTORES the purity of the ancient wisdom of the noble ones to the Pristine Worship of the Inspiring, Wise Lord Mazdá, and his Ahurás. Thus, in ancient Zoroastrianism, Zarathustra is never considered a reformer but a brilliant restorer. 

In his warrior/priestly function, Seraôša’s victorious weapons are the Ahüna Vairya prayer, “Will to become one with the primeval ahûrás,” Yasna Haptaŋ.háiti, the Seven Sacred, Blessed Chapters, and the Fšüsö.mąθra “Thought formula of Prosperity.” 

Seraôša is associated with harkening to mąθrá, “the creative thought formulas,” and is the master of wondrous wisdom, hymns, charms, and sacred rites. His association with Mithrá “allegiance to the Immortals” is mentioned in the Várštmánsar commentary of Yasna 28. 

In the Avestan sacred lore, “Mithrá drives the frightened troops of chaos hither, Rašnü drives them thither, Seraôša aṣ̌ya chases them everywhere” (Yt. 10.41). Seraôša possesses high/lofty wisdom bərəziδī, and shares with Mithrá the epithet tanu.mąθra, he “who embodies the sacred speech, thought formulas of the original ideas.”. 

Because of Sröš’s prowess in combating the diabolic forces, he is invoked to protect the soul of the deceased for the first three days after death. Sröš is the lord and ruler (xwadāy ud dahibed) of gētīg, the living world, holds and protects the material creations against the forces of chaos, and disintegration.

Seraôša or Sröš is the god force presiding over the unfailing glory, and is a source of rewards.  Seraôša has the standing epithet aṣ̌ya, a derivative of aṣ̌i, the goddess of reward, fortune. The epithet aṣ̌ya in the sacred Zoroastrian literature can be traced back to səraôšö aṣ̌ī  mąza.rayá hacimnö in the gathas. The middle Iranian epithet Sröš Ahláy is preserved in Manichean srwšrt which could be a historically more correct form.  

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Wáj or Báj, is an “Avestan formula of benediction,” which serves to invoke Gods/Immortals favor upon life activities via sacred speech.  Wáj/Báj must be recited in the words of the Avestan language that exude great power. 

The term wáj is derived from Old Iranian wăk, Avestan vač “voice, word, language, speech.” Wáj goes back to Indo-European *Wékwos “word, speech.” Old Norse vátta “voice, word,” Greek épos “epic poem” are cognates. 

Ancient Zoroastrians, and Indo-Europeans in general, believed that “words” have their unique magical power, and that “sacred words/speech” are the blueprint of the creation of the worlds. In Old Norse we read of songsmith, and spellsmith “poet.” In the poetic Gathas/Songs, the lordly ahuras, forge/fashion the poetic thought (mánthra.) 

Wáj formulae consecrates the earthly acts with sacred spiritual power, and must be recited gracefully.  Once the initial portion of the wáj preceding the action has been recited, quiet has to be maintained till the wáj is concluded by the recitation of the concluding portion.  For example after the initial wáj for breaking bread (eating,) or wáj for bathing is recited no other words may be pronounced, complete silence must maintained until the concluding wáj formulae is spoken after the meal and/or bathing. If any other communication becomes necessary during the silent period, it must be done so inarticulately, and not via spoken word. 

During Zoroastrian sacred rituals, Priests take wáj between themselves in order to make more effective the rite about to be performed, and maintain the full magic of the ritual. 

The term wāj is also used for invocation formulae at the beginning and the end of long Avestan prayers. The term Wāj Yašt Srösh is a beautiful prayer dedicated to Sraôša, the Lord of Sacred Speech and Inspiration.” 

This year, the Zoroastrian mid-summer festival “maidhyö-sham” started on June the 29th, and was concluded on July 3rd. The Zoroastrian midsummer festivities are closely associated with  Tištriia, literally the “three-star”(the “triangle constellation of Canis Major,) or more specifically ”the brightest star in the night sky, known as the “dog star, Sirius.” According to Forssman, Tištriia or Sirius is named as “the one who belongs to the three stars.”

Tištriia, is an astral god-being/power in Zoroastrianism, and the eighth hymn, Yašt of the Avesta (sacred lore of the Zoroastrians) is dedicated to Sirius. Interestingly, Sirius (Arabic shiaara) appears as the only sacred star mentioned in the moslem Qur’an, 53: 49.

The Avestan hymn to Tištriia contains two themes. The first theme deals with rain, and prosperity. The Brilliant Tištriia “three-star” attacks draught, in the form of a white, celestial horse. But after three days and nights, the brightest star is defeated, because the astral yazata “hallowed god-being,” was not sufficiently worshipped by the Aryans (see Yt. 8.24). 

Only after an auspicious yasna-“heartfelt desire” offered by Ahûrá Mazdá, the light, brilliance of Tištriia defeats drought, and releases the rains/waters (Yt. 8.25.) The Persian Proverb stating that waters are light, and have their seed in the light/brilliance of the stars, is rooted in the same Avestan hymn to Tištriia. 

The second theme deals with the fight of Tištriia with the Pairikās, the “bad fairies” which correspond to shooting stars (stārö.kərəmā, literally  star-worm showers.) The mischievous fairies are led by duž.yāirya (bad, difficult year;) and are supported by the Yātus (sorcerers.) 

Most Interestingly, the second theme of the Avestan hymn to Tištriia also has a parallel in the moslem Quran. In Chapter 15 Surah Hijr verse 16-18, we read: “And we have guarded the celestial heavens from every outcast Shaitan (diabolic being). Henceforth, diabolic beings who try unlawfully to listen to celestial heavens are pursued by flaming shooting stars.”

 The Indo-European theme of the “god” holding an “arrow” in his hand, is strongly present in the Avestan hymn to Tishtriia which was shot by the arches of Tri-Star himself. According to the Avestan hymn the three-star, flies in the sky as the ARROW shot by the most valiant archer of the Aryans, the hero araḵš or ereḵšö. According to the Avesta, ereḵšö “of the swift arrow,” shot an arrow from Mount Airyö.ḵšaôθa to Mount Xᵛanvant.

Avestan ereḵšö Old Iranian araḵš, is cognate with Latin ursus, Greek arktos, “bear.” Names such as Ursula come from the same root, so is the Persian male name Áraš. In Greek Mythology the name of Artemis, “the Mistress of Animals” is derived from arktos or “bear.” 

The epic story of araḵš, the champion archer of the Aryans, is about sacred duty, heroism and selfless sacrifice. In Zoroastrianism, life is an epic battle, mortal man must choose the Gods, goodness and nobility throughout the ages of this world, not because of fear or in hope of favors, but for the sake of virtue, wisdom, and light alone.

In the Zoroastrian tradition, it is customary to sprinkle each other with water, and play water games during this joyous holiday. Zoroastrians also wear an colorful band on their wrist during this holiday. The band shall resemble the colors of rainbow. The rainbow band is worn for 9 days.  This ancient Zoroastrian custom reminds one of the burning rainbow bridge that reaches between Midgard (Earth) and Asgard, (the realm of the primeval gods/the Æsir,) in Norse mythology.

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The Váršt-mánsar commentary of Yasna 28.7 states that through the melodious songs of mąθrá “poetic thought, sacred word,”  Zarathustra, ( and those who follow his luminous vision,) connect to the “very own/self” of Mazda, the “Lord of Mind, Inspiring Creativity, and Wisdom. The ancient commentary above reminds Me of this quote: “I saw the power of the word (poetic thought) solid and indescribable. As its feet lapped the waves of ages past.”

Hence, Godhood is inextricably linked — even incorporated within mąθrá “mind formulas of the realm of bright thoughts/ideas.” Lordship of Mazdá, and the Goodwill of the Gods, may best be experienced through the “poetic thought” mąθrá, and the “power of vision, discovery and learning,” daæná, that are bound together for all eternity.

The “effective wisdom” of ḵratü expressed through “sacred verse” mąθrá becomes the “power” of the spirit, of ardor, inspiration, which animates the prophet- poet, and the noble believer/warrior of light. 

The riddle poems of the Old Avestan Songs/Gathas are the very objects and subjects which express Mazda’s “creative will” ḵratü.  Gathas/Songs are meticulously concise, powerfully expressive, and have a sacred rhythm or profound beat to them. They are one of the best known examples of using enigma in ancient Indo-European sacred poetry. 

Gathic or Old Avestan is a sonorous, imposing, melodious language well suited to poetry and effective oration. Spoken rhythm is all-important to its poetic form.

Old Avestan mąθrás are enigmatic “meditations/reflections” on the wondrous nature of Mazda, the Supreme Titan/God of Mind Energies, inherent brilliance of the Auspicious Immortals (Mazda’s Titans or Ahûras,) their magic and superb skills, the splendid creating anew, and brilliant end destiny of the worlds, battle against diabolic deities who are the forces of chaos, limitation and obstruction in present creation, and mortal mens’s role in the colossal battle to bring about the Eternal Spring of the Titans/Primeval God Powers.    

The belief underlying all of Old Avestan poetic verse/mąθrá, is that the slightest details of these sacred poem riddles have a meaning that is both profound and significant. Every detail is noteworthy, and is capable of being discovered by further insight. The ancient Zoroastrian methods of exegesis espouse the fundamental belief that every letter, word, or other detail in the Gathas/Poetic Songs has a decipherable meaning, and vast depth. The enigmatic style of the Old Avestan sacred verse has served as an additional proof to their omni-significant interpretation.

The Gathas/Old Avestan sacred verse is considered to be complete and self-sufficient, and therefore contain the answer to every inquiry that can possibly be raised. Their Zand (literally Gnosis, “Insightful Knowledge”)  exercises the method of inclusiveness, whereby the original meaning of the poetic thought is expanded by word and sound play to include matters that are not explicitly expressed.

In Yasna 57.8 Zarathustra is said to have recited the Gathas/Sacred Songs  “together with their insightful knowledge/gnosis, together with answers to questions” (maṯ.āzaiṇtīš maṯ.paiti.fraså.) 

The popular term Kashf-ul-Asrar among early and later Moslem theologians, (literally “Revelation of The Divine Secrets,”) seem to be a verbatim translation of “Avesta and Zand,” the sacred lore of the ancient Zoroastrians. The literal meaning of Avesta (Pahlavi abesta􏰎g) seem to have to do with the “wisdom and praise” of the GodPowers, with Zand referring to the “gnosis/insightful wisdom” of the sacred poetry. 

The Zoroastrian sacred tradition divides Avesta into 3 parts: The poetic thought or enchanting “Gathic Songs” (gáhánīg), “legal” (dádīg), and “Young Avestan quotations of Old Avestan mąθrás” for utmost efficiency in prayers/ritual” (hádá-mántrīg.) 

In conclusion, I shall add that according to Holy Denkart, Zoroastrian jurisprudence could be reinvented according to the exigencies of the age. Also, according to Yasna 28.7 ḵšajā.”kingship” is reserved for masters of mąθrá or the Philosopher Kings.

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The last 10 days before the Zoroastrian new year are dedicated to “the spirits of valiant warriors/ancestors,” known as fra.varti. According to Bernfried Schlerath, the word is derived from the root √var- “choose,” with *fravarti being an acclamation—a “choosing forth—” of “pristine archetypes, heroic ancestors” who are specially honored during these 10 days.  

Alexander Lubotsky of Leiden University, in his “Indo-Iranian Lexicon” considers an etymological connection between fra.varti, and the Old Norse Valkyrja “chooser of the slain/heroic dead.”  In Yašt/hymn 13 (verse 70) the valiant spirits of fravarti are conceived as Valkyrie-like beings who are said to “swoop down like an eagle.” 

These “valiant, hero ancestors,” in the “hymn/yašt” dedicated to them, are conceived as “pristine archetypes,” supporting Ahûrá Mazdá in times of yore to brilliantly order the worlds, and still having great powers in perpetuating the creations, prospering the waters and plants, and protecting sons/descendants in the womb (verses. 1-11). Fra.varti are said to be a vast host of “many hundreds, many thousands, many tens of thousands” (Yašt. 13.65,) whose bravery and power to help in battle are particularly celebrated, (verses 49-52, 96-144.)

Zoroastrians believe that “archetypes/heroic ancestors” visit our earthly realm during these most auspicious 10 days. Hence, these sacred days become a period of pætat, or a time to “return to one’s roots.” 

Pætat comes from the verb paitî- whose literal meaning is “go back (to), step, move towards.” Pætat is a time to make amends with god-powers, archetypes, ancestors, and set right the wrong. These most auspicious days of Pætat are a time to CHOOSE, and sincerely confess the noble faith (ērīh,) and it supreme magnificence/greatness mehīh. The Zoroastrian religion is equated with érîh, Avestan airyá, as the pristine, noble faith of the ancient Indo Iranians, and even older ancient Indo-Europeans.

To honor the valiant spirits of archetypes/ancestors during Pætat, a thorough house cleaning is performed. More importantly we are instructed to purify our hearts, and make amends to family, friends, community and our neighbors. The most elaborate treatment of this subject appears in chapter 8 of the Šāyist nē Šāyist (literally suitable and not suitable.)  In this respect, Šāyist nē Šāyist admonishes “pure intent, honest admission, rejection of the wrong, and a strong will/commitment not to do the injurious offense again.”

We read throughout the Zoroastrian literature  “to do the worship and invocation of the Yazad/Gods with pure intent/vision (pad nigerišn.) According to Šāyist nē Šāyist the “pure thoughts/ideas” (pad menišn) suffice in and of themselves to render the wrongdoer righteous (8.13.) In Zoroastrianism, mental activities are considered injurious or auspicious in and of themselves, even when actions are not involved. Numerous Middle Persian, Zoroastrian texts command the Zoroastrian faithful to “never think an evil/negative thought.”

Zoroastrian tradition maintains that the boundless lights of Ahûrá  Mazdá shine more brightly on these holy days. Hence, they are a great time for “showing excellence, charity” ashö-dád. It is a time to generously help the less fortunate. Wealthier Zoroastrians establish “charitable trusts, foundations” during this time. It is traditional to perform Gáhán.bár “religious thanksgiving celebrations” for 30 years at any such donated land or established charitable foundation or trust. 

Each Zoroastrian family prepares a beautiful table/banquet decorated with candles, wine, sugar cone, fruits, hearty fried bread “sirög,” eggs, milk, a bowl of fresh water with some dried oregano, and incense. Prayers shall be done at this table of “offerings and libations.”

Presently, Zoroastrian also decorate their table with picture of their beloved departed ones. Some invite Priests to do the prayers for them at their home. Another most important ritual is kindling seven or nine bonfires on rooftops, in alleys or in courtyards.

Currently the Parsi new year is celebrated on August 16, and the ten most auspicious days start at August 6th. Nauv.rooz Bal Celebrations on August 17, in the lush Caspian mountains are extremely similar. After the Arab conquest, and following  Zoroastrian decline 3-4 centuries after the invasion, Surviving Zoroastrian communities in remote mountains, and high deserts slowly lost track of leap year calculations, and their new year ceremonies over few centuries moved to mid-summer instead of the Avestan appointed Spring Equinox celebrations.

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The concept of making an appeal to the “Auspicious, Brilliant, Immortals,” “hallowed god powers,” “pristine archetypes,” and “luminous blessed spirits,” to INTERCEDE on behalf of mortals is among the prominent beliefs of the Zoroastrian faith. 

In Zoroastrian worldview, there is a boundless, bright realm of “creative ideas, powerful mind energies, pristine archetypes, blessed, luminous spirits, known as the world of ménög. The ancient Avestan commentaries define ménög as an “enchanting world of “Celestial Melodies, God Songs/Gathas, (gāhānīg,) and most brilliant ideas,” (See ancient commentaries of Yasna,28.1.)  

The brilliant realm of spirit/mind, ménög, and“pristine archetypes” is where the fate of the material manifestations, gétîg, is decided. Ménög, precedes the universe of manifestations, gétîg, and serves as the original model for the latter’s creation. Ménög is the root and source of gétîg, and gétîg is its fruit. 

However, as ménög reflects the changes brought about in gétîg, the “realm of thoughts, mind powers, ideas,” ménög, becomes dependent on the “realm of manifestations,” gétîg. This makes the material world of gétîg, the perfect place to trap, and overcome the flaws and imperfections of the broken spirit, ahriman, and his diabolic deities.  Since, gétig is a place of mixture, fiery trial, and removal of imperfections.   

The diabolic deities and the broken spirit are trapped within the world of mortal men, and are manifest in malformations in the physical. It is said regarding the battle against ahriman, the “broken, evil spirit,” and his demon-gods, there will never be a time in which mortal men will not exist in the material universe. Since, both the continued existence of evil, and the final overcoming of it depends on mortal men. When mortal men evolve into higher, spiritual, supermen; the “broken, evil spirit,” ahriman, and his demon-gods will cease to exist.

Everything that exists in the manifested universe has a ménög “ideal, spiritual,” as well as a gétîg “physical aspect.” Hence, the Yazatás, god powers that ought to be “hallowed/worshipped,” exist both in ménög and in gétîg, and INTERCEDE to ménögán ménög, “the highest, most sublime mind/spirit of all,” (a term that designates the Supreme God, Ahûrá Mazdá,) on behalf of mortal warriors of light. 

The word for INTERCESSION in the Middle Iranian Zoroastrian literature is jádag-göwîh. It appears in the ancient commentaries of Yasna 27.13c, 28.1 a, 34.2c, 45.6d, 49.6a, 51.2c of the Poetic Gathas. 

The Avestan terms associated with the concept of INTERCESSION are vahmæ “to venerate, revere as the source of all good,” and nəmaŋhá “praise/bow to unleash the spiritual/god powers hidden in the world appearances.” 

Prods Oktor Skjaervo derives vahmæ from the root vaf “to weave sacred poetry/praise.” While Almut Hintze derives vahmæ from vohü “superb, good.” 

The idea is to see the “boundless, infinite, superb” in the mundane, and venerate it as sacred, and source of all good. When we revere the “ideal, spiritual, divine archetype” in the world of transient forms, we awake the Titans within, and unleash their hidden powers, and powerful pleas on our behalf. The concept is very similar to Old Norse Vé and making natural shrines to the original gods. 

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Zoroastrian festival of Mehregaan is an autumnal harvest festival dedicated to Mithra. It is a six days, most joyous holiday that starts on October 2nd, and concludes on October 8th. The festivities of Mithra are closely associated with autumnal equinox.                                                                                                                                                                                 The close association is due to the fact that autumnal equinox is linked to the concept of reciprocity and harvesting. In the sacred lore of the Zoroastrians, the Avesta, Mithra is hailed as the “Lord of the wide pastures and meadows.” The Avestan Mithrá-, Vedic Mitrá- comes from reconstructed Indo-European root *meit- and is cognate with Latin mūtō, Gothic maidjan, Latvian mietot.. 

Mithra appears in the Poetic Gathas, Yasna 46.5, 2nd rhymed verse line in the form of mithrö.ibyö in the sense of “reciprocity, mutual friendship, camaraderie.” Mithrá is reciprocating the Immortals kindness by fulfilling our duty/destiny. The festival of Mithra is known as Mehrgān/Mehregān in modern Persian. We must pay our debts, return the favors, fulfill our promises, and make sure we have a clean record during this holiday.                                                                                                                                              

 The Zoroastrian autumnal celebrations were once so joyous and elaborate, with festive lights, banquets, and music that the word Mehrgān/Mehregān has been borrowed into Arabic as Mehrajān referring to “joyous festivity” in general.                                                                                                                                                                                                                            

  The celebrations of Miθra were also held around the autumnal equinox in the 7th month of the Achaemenian calendar known as  Baga.yadi “hallowing of the  god.”  The ancient Iranian word Baga for “god, giver of good fortune,” is a cognate of Slavic Bog, “god/God.”                                                                                                                                                                             

In the Zoroastrian sacred rites, the celebration of equinoxes is connected with partaking of parahöm, “the consecrated elixir of life.” The ritual is symbolic of receiving life force and much vitality.  The rite symbolically re-enacts the time when the blessed spirits will partake of parahöm (elixir of life,) prepared from the all healing plant “White Höm.” All blessed spirits also join in a mystical communion meal prepared from the fat of the mythical bull, Haδayans. The sacred elixir/wine and communion meal shall confer deathlessness on resurrected bodies at the time of Frašō.kərəti, the “splendid recreation of the worlds.”                                                                                                                                                                               Mehregan is the only time of the year that we are allowed to indulge in wine without moderation. Zoroastrian jurisprudence considers wine making and wine consumption a great virtue when is done in moderation. But during Mehregan we can be slightly drunk. According to Greek Historians, this was the only holiday among ancient Persians that rulers and judges could appear slightly drunk in public.                                                                                                                                                    The special foods of the autumnal celebrations are: a hearty pomegranate soup, a stewed meat dish known as khoresh sib made with apples, another hearty stew made with quince and dried apricots, also the iconic zereshk polo, sweet rice with barberries, saffron, pistachios and almonds, and Persian Marzipan shaped into the shape of mulberries.                                                                                                                                                                                                                                 On the thanksgiving table of Mehregan we shall offer wine, pomegranate fruit, other seasonal fruits dried nuts, fried sweet bread, and candles and incense as an offering.

Ardeshir