Persian Fire

by Tom Holland

But Persepolis and Susa were not, in the febrile sense that Babylon was, cosmopolitan; nor had it ever been part of Darius’ ambitions that they should be so. It did not require the Great King to emerge from his palace into a stinking mass of humanity for him to flaunt and represent his sway. The detail of a tax payment, safely logged inside an archive; the glinting on a palace door of rare and precious metals, quarried from an incalculably distant mountain range; the portrayal on a frieze of some humble tributary—an Arab, or an Ethiopian, or a Gandharan—his submission forever frozen by the pattern of the design; all these spoke with perfect clarity of the timeless nature of Persian power. Significant as the bloody practicalities of imperial rule were to Darius, so also was their shadow, his sacral vision of a universal state, one in which all his vast dominion had been imposed for the conquered’s good. The covenant embodied by Persian rule could not have been made any clearer: harmony in exchange for humility; protection for abasement; the blessings of a world order for obedience and submission. This was, of course, in comparison to the propaganda of the great empires of Mesopotamia, notably lacking in a relish for slaughter—but it did serve very effectively to justify global conquest without limit.