At the time of morning-worship
     Haoma came to Zoroaster,
     Who was serving at the Fire
     And the holy Psalms intoning.

     “What man art thou (asked the Prophet),
     Who of all the world material
     Art the fairest I have e’er seen
     In my life, bright and immortal?”

The image of the sacred plant responds, and bids the priest prepare the holy extract.

     Haoma then to me gave answer,
     Haoma righteous, death-destroying:—­
     “Zoroaster, I am Haoma,
     Righteous Haoma, death-destroying. 
     Do thou gather me, Spitama,
     And prepare me as a potion;
     Praise me, aye as shall hereafter
     In their praise the Saviors praise me.”

Zoroaster again inquires, wishing to know of the pious men of old who worshiped Haoma and obtained blessings for their religious zeal.  Among these, as is learned from Haoma, one was King Yima, whose reign was the time of the Golden Age; those were the happy days when a father looked as young as his children.

     In the reign of princely Yima,
     Heat there was not, cold there was not,
     Neither age nor death existed,
     Nor disease the work of Demons;

     Son and father walked together
     Fifteen years old, each in figure,
     Long as Vivanghvat’s son Yima,
     The good Shepherd, ruled as sovereign.

For two chapters more, Haoma is extolled.  Then follows the Avestan Creed (Yasna 12), a prose chapter that was repeated by those who joined in the early Zoroastrian faith, forsook the old marauding and nomadic habits that still characterize the modern Kurds, and adopted an agricultural habit of life, devoting themselves peaceably to cattle-raising, irrigation, and cultivation of the fields.  The greater part of the Yasna book is of a liturgic or ritualistic nature, and need not here be further described.  Special mention, however, must be made of the middle section of the Yasna, which is constituted by “the Five Gathas” (hymns, psalms), a division containing the seventeen sacred psalms, sayings, sermons, or teachings of Zoroaster himself.  These Gathas form the oldest part of the entire canon of the Avesta.  In them we see before our eyes the prophet of the new faith speaking with the fervor of the Psalmist of the Bible.  In them we feel the thrill of ardor that characterizes a new and struggling religious band; we are warmed by the burning zeal of the preacher of a church militant.  Now, however, comes a cry of despondency, a moment of faint-heartedness at the present triumph of evil, at the success of the wicked and the misery of the righteous; but this gives way to a clarion burst of hopefulness, the trumpet note of a prophet filled with the promise of ultimate victory, the triumph of good over evil.  The end of the world cannot be far away; the final overthrow of Ahriman (Anra Mainyu) by Ormazd (Ahura Mazda) is assured; the establishment of a new order of things is certain; at the founding of this “kingdom” the resurrection of the dead will take place and the life eternal will be entered upon.