I r a n i n Wo r l d H i s t o r y
20
Auramazda (Ahura Mazda),
who created yonder heaven, who created
this earth, who created man, who created happiness for man, who
made Darius king, who bestowed on Darius this land, large, with good
horses, with good men.”
4
Darius considered Ahura Mazda to be his personal patron deity,
just as Cyrus had earlier adopted Marduk as his.
But that did not make
the Achaemenid state officially Zoroastrian. The Median Magi, cus-
todians of the Zoroastrian rite, had apparently worked their way into
Darius’s inner circle, but it would be another eight centuries before they
could exercise full religious authority over Iranian society. Within the
general population, religious diversity
was the norm among Iranians
and non-Iranians alike. This consisted of a wide range of cults to local
deities, as evidenced by the records of priestly commissions preserved
in the so-called Persepolis fortification tablets. These documents men-
tion only a tiny handful of ceremonies performed for Ahura Mazda,
compared to much larger numbers dedicated to Elamite and other gods
and goddesses.
In 515 bce Darius began building the palace complex of Persepolis
(from the Greek,
persis-polis
, “Parsa-the-city”) just north of the mod-
ern city of Shiraz, and construction continued
for about a hundred
years thereafter. Persepolis was the Persians’ springtime capital, a spe-
cial ceremonial center used on the occasion of the Persian New Year,
Noruz
, when nobles from all across the realm brought tribute such as
live animals or other valuables to the emperor. Processions of dozens of
these gift-givers, each in their native garb, are
depicted in stone engrav-
ings which are still preserved at the site.
Occurring exactly at the moment of the vernal equinox, Noruz
was originally an agricultural festival symbolizing the ending of
winter and the regeneration of life. Iranians seem to have adopted
it from Mesopotamia, where its roots can be seen in the myth of
the goddess Ishtar and her son/lover Tammuzi, who is sacrificed
each autumn
and enters the underworld, mourned by Ishtar with
tearful laments until he returns to life in the spring. (This resurrec-
tion myth later served as the precedent for yet another springtime
celebration, the Christian Easter.)
Mesopotamian traditions heavily influenced the monumental art
of the Achaemenids as well. The
fravahr
—a winged disk with a human
figure in the center—was used as a royal emblem from Darius’s time
onward. Originally derived from an Assyrian model representing the
Semitic solar deity Ashur, the
fravahr
symbol
was used in Achaemenid
times to depict Ahura Mazda.
I r a n a n d t h e G r e e k s
21
For centuries to come, large numbers of Greeks and other eth-
nic groups would spend long periods as Persian subjects, especially
in Anatolia and Mesopotamia, fostering considerable interaction and
mutual influence between the two civilizations.
Although the Greeks
had managed to halt Darius’s expansion at the Battle of Marathon,
Persian and Greek armies continued to push the border back and forth
for the next thousand years. Many Greeks attained important positions
in Persian society, and even at Athens pro-Persian groups were pres-
ent. Herodotus and other Greek writers popularized an “us-and-them”
antagonism with their anti-Persian political propaganda, but on the
ground Persians and Greeks often thrived together.
The history of the Achaemenid period is generally told in a way
that emphasizes more or less constant battles between the two major
powers of the Eastern Mediterranean, the Greeks and the Persians.
Darius’s
successor, Xerxes (Khshayarsha) I, renewed the campaign
against Greece and entered Athens, where he burned the Parthenon
in 480 bce. Two centuries later, Alexander of Macedon burned down
Persepolis in revenge. What is often glossed over in discussions of the
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