with Atar, the genius of fire.[1] Angra Mainyu, as the devil, exclaims that Zarathushtra burns him with Asha Vahishta as with molten metal.[2] This allegory of burning and annihilating the Evil Spirit through righteousness is taken literally in the later period of Zoroastrianism, where Asha Vahishta is identified at times with the household fire on the hearth. Such identification in the realms of matter and of spirit serves only to bring more into prominence the main tenets of Zoroaster's teachings in regard to Asha.
Khshathra Vairya
The change that the concept undergoes. The Gathic Khshathra now takes Vairya, 'desirable,' as its standing epithet, and hence both the terms combine to form the name of this archangel. This archangel of Ahura Mazda[3] gradually loses the abstract side of his nature in the Avestan texts In the Gathic prose text of the Yasna Haptanghaiti the abstract idea of the Divine Kingdom occurs but once. In this solitary passage the devout long for the everlasting Kingdom of Ahura Mazda.[4] Throughout the Younger Avestan texts this abstract idea of the spiritual kingdom recedes into the background, or rather is entirely lost sight of. True, Khshathra Vairya is still occasionally invoked by name along with the other celestial beings, but his higher function as the genius of the sovereign power in the abstract entirely falls out.
Khshathra Vairya as the genius of earthly wealth. Materially Khshathra Vairya is the genius of metal, and his activity is now limited to guarding this concrete creation of God. He is not spoken of as the genius of the celestial riches of the Divine Kingdom of Ahura Mazda. Khshathra Vairya and the molten metal are invoked side by side.[5] In fact he very soon loses even this trait of his work; he is identified with metal and just becomes metal itself.[6] Thrita, the first reputed healer
