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EPISODE #119

AIRED: 11-17-2018

The language of the green Light..,..,
Leo Zagami Part 2
Ra Castaldo Special Guest

Reading the Green Language of Light
by Vincent Bridges

Part One
Divination is one of man’s oldest spiritual technologies, its origins lost in the shift from neolithic hunter-gatherers to settled agriculturalists. As the shaman developed into the priest, divination, along with all forms of spiritism, became codified into mythology. From a framework of mythic events and divination – literally readings of the divine – came language, which evolved over time into written forms based on the original symbolic elements. In turn, these symbolic elements became the focus of divinatory practices of their own, creating sub-sets of meaning within common words and phrases. From this intentional ambiguity arose the possibility of an initiate’s language, a language of the birds, or, as it was expressed by the medieval initiates, the Green Language.

Although we can point to the Green Language in works as diverse as Midsummer Night’s Dream and The Chymical Wedding of Christian Rosencruz, Nostradamus’ quatrains, 18th century alchemical texts and surrealist manifestos, few authors have bothered to explain it. One who did was Fulcanelli, the enigmatic 20th century alchemist and philosopher, in his masterpiece The Mystery of the Cathedrals, published in Paris in 1926.[1] Here we have an authentic, although mysterious, voice of authority; one that was both master of the Green Language itself, and a master of the subjects usually hidden within it.

Fulcanelli’s main point, the key to unraveling the larger mystery of alchemy and the cathedrals, lies in an understanding of what he calls the “phonetic law” of the “spoken cabala,” or the “Language of the Birds.” This punning, multi-lingual word play can be used to reveal unusual and, according to Fulcanelli, meaningful associations between ideas. “What unsuspected marvels we should find, if we knew how to dissect words, to strip them of their barks and liberate the spirit, the divine light, which is within,” Fulcanelli writes. He claims that in our day this is the natural language of the outsiders, the outlaws and heretics at the fringes of society.

It was also the “green language” of the Freemasons (“All the Initiates expressed themselves in cant,” Fulcanelli reminds us) who built the art gothique of the cathedrals. Ultimately the “art cot,” or the “art of light,” is derived from the Language of the Birds, which seems to be a sort of Ur-language taught by both Jesus and the ancients. It is also mentioned in the Sufi text, entitled “The Conference of the Birds,” by Attar the Chemist. In de Tassey’s French translation of this work, which Fulcanelli references, the “conference” of the title is translated as “language.” De Tassey goes on to explain the complex linguistic metaphor beneath the simple fable. Fulcanelli uses the same method to decode the alchemical meaning of the cathedrals.

Fulcanelli also claims that Rabelais’ Gargantua and Pantagruel is “a novel in cant,” that is, written in the secret language. Offhandedly, he throws in Tiresias, the Greek seer who revealed to mortals the secrets of Olympus. Tiresias was taught the language of the birds by Athena, the goddess of wisdom. Just as casually, Fulcanelli mentions the similarity between gothic and goetic, suggesting that gothic art is a magic art.

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