Ancient Narratives

Exploring the narratives That Shaped a part of cultural identity

The Role of Mythology in Understanding Ancient Civilizations

A classroom that explores myths can reshape our understanding of ancient civilizations and cultures. Despite offering profound insights, mythology is a relatively recent academic discipline, with only a limited number of universities formally recognizing it.

AI-generated illustration inspired by Iranian miniature paintings from the Shahnameh of Shah Tahmasb.

Mythology and early human experience in confronting nature

The examination of ancient narratives in mythology studies is rooted in the definition of myth itself. Myths are narratives developed by people in response to natural phenomena and social interactions. Through engagement with nature often seen as both benevolent and harsh communities construct stories reflecting their worldviews. In social contexts, such narratives articulate ways of life and social relationships. Individuals within these communities may also select distinct narratives that resonate with their experiences.

Cultural Roots of Iranian Mythology

Iranian mythology includes stories from Aryan settlers and from cultures along old trade routes. It also takes ideas from earlier people who lived in the Iranian desert.

Records from the Achaemenid, Parthian, and Sasanian times show many outside
influences in Iranian myths. This mix can be studied in different fields. Many events that
would be forgotten live on in these stories.

Explore Iranian Mythology in Depth

To delve deeper into Iranian myths, visit the website’s audio page and listen to the
recorded talks for further insights into Iranian mythology through authentic ancient
narratives.

1- Narrative & Myth

In a series of 32 lectures, I talk about Iranian mythology, how to interpret it, and the stories behind it. The program began in March 2022 and continued till November.

In the first part of Ancient Narratives of Iran, I explained why narrative & myth are two sides of the same coin. Recognizing the importance of these concepts can inspire your curiosity and deepen your appreciation for Iranian literature and mythology.

Narrative refers to the way a narrator tells a story, encompassing both speech style and perspective. It has its own rules, grammar and elements such as event timing, setting, characters, beginning, plot, and conclusion, all essential to understanding storytelling techniques.

Myth is also a narrative, but specifically conveys how a land was formed and reflects a nation’s worldview. Appreciating this connection can evoke a sense of wonder about cultural origins and shared beliefs.

2- Definition of Myth

After the introduction I gave in the previous session on narrative, I moved on to the definition of myth. From a narrative perspective, myth is like other literary narratives, such as stories, fables, and legends. However, I discussed the differences between mythological narratives and other narratives. Although today myth is considered a separate and independent topic, it can be viewed from various perspectives, most of which are social, such as social psychology, anthropology, history, archaeology, linguistics, and hermeneutics. Even as my friend, Dr. Ali Amini, suggested at the end, myths can be viewed from an artistic perspective, and this aspect, despite the potential of Iranian mythology, remains unknown to art lovers.

I invite you to listen to this part of Iran’s ancient narratives.

3- Iranian mythology & Zoroaster

Three sessions of the Ancient Narratives of Iran program were set aside for theoretical discussions, such as what narrative and myth are. In the third part, we discussed the Avesta and Zoroaster as important sources of Iranian mythology

Here are some highlights of Zoroaster’s life. Then we talked about the Avesta, the Avestan language, and related books. Theoretical discussions usually guide the direction of subsequent sessions. I invite you to listen to this part

4- Myth of Creation - Episode 1

When we talk about creation, where should we start? The first steps to enter the topic of myth are the different creation narratives. Of course, it should be kept in mind that despite the differences, there are many similarities in these legends. In this part of the creation, we discussed creation from the perspective of Iranian mythology and read the story of the creation of the world in the Shahnameh.

In the Gospel of John, it is stated: “In the beginning was the word. Moreover, the word was with God, and God was the word. Moreover, the same was with God in the beginning.” However, in the Avesta, Ahura Mazda is accompanied by life and wisdom, as the Shahnameh also begins with the name of the creator of the soul and wisdom.

In Iranian mythological creation, we have two narratives: one is Zarvan, a very old narrative. Archaeologists and mythologists have not yet reached a definitive conclusion about the antiquity of this belief, but there is strong suspicion that it predates Zoroastrianism. The name Zarvan appears twice in Zoroastrian books, and he is considered the God of time. In a sense, Ahura Mazda and Ahriman were born from his womb at a moment of hope and despair. The other story is the confrontation of Ahura Mazda and Ahriman, which culminates in the creation of the sphere and universe.

I invite you to listen to these stories.

5- Myth of Creation – Episode 2

The creation myth can begin with Ahura Mazda creating the universe, the same place where he first creates the Minoan world. The Minoan world, the sky and the universe, the Amesha Spenta, and the Izads/Gods and Goddesses, all are static; nothing moves in it because it has no soul/life. All were born in the absence of Ahriman, and Ahriman is hidden in his dark hole, which is nothing but depression and darkness.

In ancient Iranian narratives, we will discuss the creation, which occurred in several stages: from Ahura Mazda to Ahriman. The first one creates the universe and the sky in the absence of Ahriman and breathes life into them, creating the gems of humans and cattle from fire. The second one emerges from the depths of darkness after a long time to antagonize the Ahoura’s creatures with the assistance of his companions.

I invite you to listen to this part.

6- Nowruz Narratives

Undoubtedly, one of the most meaningful ceremonies among Iranians is Nowruz. Although this celebration has its roots in nature and seasonal changes, it shows traces of the settlement of the people of the plains of Iran, with the officialization of the Zoroastrian religion. Nowruz adopted some Zoroastrian elements, and every group that entered Iran not only welcomed this ritual but also added some of its symbolism to it.

Nowruz is celebrated throughout cultural Iran and beyond nowadays, albeit with some differences. In this part of the ancient narratives, spread on Nowruz 1401, held at the Club House at the beginning of the 15th century of the Iranian calendar, we have discussed it from a narrative perspective.

I invite you to listen attentively to this part, as it offers insights into the rich history and cultural significance of Nowruz.

7- Ahura Mazda & its Companions - Amshaspands

When Ahura Mazda began creation, he knew that Ahriman would emerge from the depths of darkness at any moment, so he had to be ready to confront him. Therefore, he created the Amshaspands as his assistants. There were six Amshaspandan, three daughters and three sons: Bahman/Vahoman, Ordibehesht, Shahrivar, Sepandarmaz, Khordad, and Amrdad.

Along with the Amshaspands, the gods also appeared, some of whom were endowed with high status, such as Sorush and Mehr/Mitra, and Anahita, and sometimes approached the Amshaspandan. Of course, the arrival of the gods dates back to after Zoroaster. The prophet Zoroaster sought to overthrow the polytheistic system. Yet, the status of some gods among the Iranians was so high that after Zoroaster, they reappeared in the Iranian rituals and ceremonies, including Sorush and Mehr/Mitra.

In this section, we will discuss Ahura Mazda’s assistants and their roles.

8-MEHR /MITHRA- Goddess of Covenant

The god Mehr/Mitra holds a central place in Iranian mythology, inspiring curiosity and respect as a figure associated with covenants and praised in the Avesta. In one of the Avesta Yashts known as Mehr Yasht, Mehr is defined as follows: “Mehr, the possessor of the vast and tame plains, the generous farmer… Ahura Mazda said to Spentaman Zarathustra: O Spentaman, when I created Mehr, the possessor of the vast plains, I created him equal in being worthy of praise, equal in being worthy of worship with myself, Ahura Mazda. … Mehr… The one who owns the vast plains. The one who is aware of the true word. The eloquent with a thousand ears, the handsome with a thousand eyes, the tall standing on the top of the wide tower, the strong who is a sleepless guard. »

Considered a survivor of the pre-Zoroastrian gods, Mehr/Mitra not only enjoyed high status among Iranians but also achieved global fame; he also travelled from east to west, evolving and gradually distancing himself from the Mehr that was integrated into Iranian religion. This complex history invites admiration and curiosity about cultural exchanges and religious evolution.

This section traces the history of Mehr/Mitra, a deity whose influence spans Iran and Europe, to help you better grasp his cultural and religious importance across regions.

9- Ahura Mazda & its Companion- Gods & Godesses

In the seventh session of the ancient narratives of Iran, I discussed the Amshaspandans and briefly mentioned the gods. To deepen your understanding, I will now focus more on the gods and their tasks, emphasizing their importance in Iranian culture. Initially, Zoroaster established the tradition of monotheism in contrast to the plurality of Hindu-Aryan gods.

However, the role of gods in Iranian myths gradually became increasingly important, and each god took on a new task to defend the realm of Ahura Mazda against the demons. After a brief explanation of the Zoroastrian gods, I read in this part the captivating and fascinating story of the confrontation between Tishtar, the god of rain, and Apush, the demon of drought, taken from the great Bandashen.

I invite you to listen to the ninth part of the ancient narratives of Iran.

10- Ahriman and its companions

The last part of the first chapter is assigned to Ahriman and his companions. Whatever we have of Ahura Mazda’s companions and their queuing up against the good demons, cases but not complete information, have been said a lot about Ahriman and his companions. In some Zoroastrian sources, we hear the names of Ahriman’s companions, such as lies, anger, envy, and drought, among others, destructive forces.

Anyway, the story begins with Ahriman, after being transformed by the world of light of Ahura Mazda, sinking into the depths of darkness in great despair. No matter how much his companions promise him their cooperation in defeating Ahura Mazda, he does not emerge from his seclusion until that demonic female named Jah, at the beginning of the great cosmic conflict between Good and Evil, encourages Ahriman to attack the Ahuraic world. And Ahriman, by kissing Jah’s head, presents him with the impurity of the plains. This kiss marks the start of Ahriman’s invasion into the universe and the ongoing struggle between his followers and Ahura Mazda, or in other words, Angreh Mainyu and Spəṇta Mainyu.

So, in ten parts, I explained the narrative and mythology and their relations. Then move on to the mythology of creation in Iranian narratives: Ahura Mazda and his companions, Ahriman, and his companions. In the second chapter, I will lecture about mythological characters, may it be fulfilled by the listeners’expectations.

*Hero image includes details from Iranian miniature paintings in the Shahnameh of Shah Tahmasp (16th century), reproduced from publications by the Tehran Museum of Contemporary Art for educational purposes.