Even now that better translations are available, the Avesta is apt to dishearten the reader on his first acquaintance with it. Many passages have remained obscure, and the desire to be literal in this as in some other Oriental works has hindered the translators from writing their own languages well. It needs a Sir Richard Jebb to produce a translation which is a classic and is yet microscopically accurate. I once asked Professor F. C. Burkitt why the Septuagint did not make more impression on the Hellenic and Roman students of Alexandria by mere force of the literary power of the Bible? He replied that he thought it was to be explained by the poor degree of literary skill possessed by the Greek translators or by most of them. Another reminiscence comes to my mind here: I recollect that eminent scholar and deeply religious-minded man, Albert Réville, saying to me: “The Bible is so much more amusing than the Koran!” I am afraid one must confess that the Koran is so much “more amusing” than the Avesta. It is a good rule, however, to approach all religious books with patience and with reverence, for they contain, even if concealed under a bushel, the finest thoughts of man. When we have grown accustomed to the outward frame of the Avesta, the inner sense becomes clearer. It is like a piece of music by Tschaikowsky: at first the modulations seem bizarre, the themes incoherent; then, by degrees, a consecutive plan unwinds itself and we know that what appeared meaningless sound was divine harmony. The essential teaching of the Avesta is summed up in the text: “Adore God with a pure mind and a pure body, and honour Him in His works.” Force, power, energy, waters and stagnant pools, springs, running brooks, plants that shoot aloft, plants that cover the ground, the earth, the heavens, stars, sun, moon, the everlasting lights, the flocks, the kine, the water-tribes, those that are of the sky, the flying, the wild ones—“We honour all these, Thy holy and pure creatures, O Ahura Mazda, divine artificer!” “The Voice said: Call My works thy friends.” If the lyric note of great religious expression is rarely reached (only, perhaps, in a few pieces, such as the noble hymn to the sun-symbol), the sustained exposition of life is so reasonable and yet so lofty that to contemplate it after gazing at the extravagances of pillar-saints and Indian Yogi, signals, as it were, a return to sanity and health after the _nuit blanche_ of fever.