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From the Gathas to the Later Avesta, a retrograde step. We now enter upon a new field of investigation, and move in an entirely changed atmosphere as we proceed. The buoyant spirit of the Gathic hymns is preserved to a great extent in the prose composition of the Haptanghaiti, or the section of 'Seven Chapters' in the Avestan Yasna, written in the Gathic dialect during the transition period that intervened between the close of the Gathic age and the opening of the Avestan period. The lofty tone of the earlier compositions gradually declines, and the greater part of the Yasna, Yashts, and Vendidad becomes heavy and monotonous. On only rare occasions do the texts exhibit sudden flashes of transcendent beauty and devout fervour. The growing tendency is for complexity and concreteness. The Gathas generally dealt with the abstract concepts. Every one of the Amesha Spentas, as we have already seen, impersonated some cardinal virtue. Though Asha, the genius of righteousness, and Haurvatat, that of perfection, have each a Yasht consecrated to them in the Younger Avesta, the abstract virtues of these archangels do not receive any recognition in these hymns. The secondary and concrete qualities with new associations loom larger in the thoughts of their composers than do the primary qualifications. Rather than dealing with the righteousness of Asha Vahishta and the perfection of Haurvatat, the later texts expatiate upon their healing powers by means of the recital of the various formulas of magical efficacy and the spells to drive away the demons of diseases and death. This general tendency of drifting towards the concrete and material in religion is the characteristic feature of the times and endures throughout the Younger Avestan as well as the subsequent Pahlavi period, in which it reaches its climax.

Daena, Chisti, Mithra, Raman, Rata, Manthra, Airyaman, Asha, Hvare, Maonghah, Asman, Ushah, Atar, and Zam fur-