Zoroaster his subjects to adopt the religion of the Magians. Recalling other tradition, al-Tabari (i.681–683) recounts that Zaradusht accompanied a Jewish prophet to Bishtasb/Vishtaspa. Upon their arrival, Zaradusht translated the sage's Hebrew teachings for the king and so convinced him to convert (Tabari also notes that they had previously been "Sabi"s) to the Magian religion. The 12th-century heresiographer al-Shahrastani describes the Majusiya into three sects, the "Kayumarthiya", the "Zurwaniya" and the "Zaradushtiya", among which Al-Shahrastani asserts that only the last of the three were properly followers of Zoroaster. As regards the recognition of a prophet, Zoroaster has said: "They ask you
Zoroaster that it was a form of rational Deism, preferable to Christianity. Zoroaster was the subject of the 1749 opera, "Zoroastre", by Jean-Philippe Rameau. With the translation of the Avesta by Abraham Anquetil-Duperron, Western scholarship of Zoroastrianism began. An early 19th-century representation of Zoroaster derived from the portrait of a figure that appears in a 4th-century sculpture at Taq-e Bostan in south-western Iran. In E. T. A. Hoffmann's novel "" (1819), the mage Prosper Alpanus states that Professor Zoroaster was his teacher. In his seminal work "Also sprach Zarathustra (Thus Spoke Zarathustra)" (1885) the philosopher Friedrich Nietzsche uses the native Iranian