Decoding The Green Language


The language of light emitted and received by the DNA may be the original of all languages, the ultimate language of initiation!!
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. 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 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. Emphasizing the phonetic connection to argot, cant or slang, Fulcanelli then links it to the Argonauts, of the quest for the Golden Fleece, by insisting that the crew of the Argo spoke the Green Language as it sailed “towards the felicitous shores of Colchos.” 

He suggests that the language of this quest is the foundation of all initiation – “All Initiates expressed themselves in cant.” In the same sentence he links this idea with the Court of Miracles of the troubadour poet Villon and the artists who built the cathedrals, implying that these groups were somehow the same nautes, or sailors, as the Argonauts.
By any standard of comparison, this is an unusual collection of allusions and assertions, even for a hermetic author. Fulcanelli seems to be telling us, as plainly as possible, that the medium is the message! The argot is the art of light, the core of a Gnostic philosophy expounded so eloquently by Fulcanelli in the paragraph that follows immediately after the art of light statement. “Language,” Fulcanelli tells us in that passage, “the instrument of the spirit, has a life of its own – even though it is only a reflection of the universal Idea.” This Gnostic meta-linguistic mysticism is the core it seems of illumination itself.

From the work of modern molecular biologists Fritz-Albert Popp and Mae-Wan Ho, we know that DNA emits a weak form of coherent light that has been demonstrated to work like a communication system between cells and even between larger organisms. In this sense, the art of light is indeed the instrument of the spirit. It is nothing less than the mechanism, the framework so to speak, that allows Mind to exist in the universe. 

The language of light emitted and received by the DNA may be the original of all languages, the ultimate language of initiation!

Fulcanelli clearly understood this, as he shows when he states that argot, the initiation of the Argonauts, is but “one of the forms derived from The Language of the Birds.” This Ur-language, Fulcanelli insists, is the common language of initiation and illumination behind cultural expressions as different as the Christian, the Inca, the medieval troubadours and the ancient Greeks and traces of it can be found in the dialects of Picardy and Provence, and most important of all, in the language of the Gypsies.

These are stunning assertions. Fulcanelli informs us that the western cabala used by the troubadours and the builders of the cathedrals is based on the language of the Argonauts and the quest for the Golden Fleece. Which in turn is but one application of a vast Ur-language of symbols, derived perhaps from the DNA itself, that unite the global cultures of mankind, from the Inca to the ancient Greeks and, to top it off, he told us that traces of it can be found in the language of the Gypsies, a fairly obvious reference to the Tarot, long held to be a Gypsy invention. 

Is he telling us that the Green Language, which is heard according to David Ovason only by those “who have clothed themselves in the skin of the dragon,” is simply a symbolic approximation of the information, transmitted by weak laser pulses, coming from our DNA?

According to the work of anthropologist Jeremy Narby, this Ur-language of light is a “forest television” of images in which “DNA is a snaked shaped master of transformation that lives in water and is both extremely long and small, single and double. Just like the cosmic serpent.” His assessment agrees with Ovason’s comments that only one who has the skin of the dragon, or has become one with the cosmic serpent of DNA, can understand this symbolic language of light.

Could it be possible, by looking at the structure of DNA, to reconstruct this dragon’s speech, this green language of light’s syntax, grammar and vocabulary? And could it be, as Fulcanelli suggests, that fragments of that original language of light can be found in the divinatory systems used by all nautes, shaman and initiates?

The Tree of Life is also a way to organize the information of the DNA. When viewed as a 3 dimensional object, the Tree of Life becomes a prism-like crystal, which increases its resemblance to the liquid crystal of DNA. 

We can see these two great information theories as emblematic of the eastern and western approaches. The Ladder-like approach of the Tree of Life complements the language-like structure of the I Ching. What unites them is the end result, the realization of the DNA/light, even in symbolic terms, from which they originate.

Is there really a very sophisticated meme for transformation and gnosis that runs through all religions and spiritual traditions? Is this tradition holding the knowledge of our past for a release some time in the future? 
Could light, in the form of weak laser pulses from our DNA, be the source of this information? Could the pattern itself, represented by the yin/yang polarity of hexagrams #63 and #64, reveal when understood the ultimate secrets of life, time and fate?

The answer to these questions, and the others we originally proposed appears to be yes! It is possible to reconstruct the dragon’s speech, the green language of light’s syntax, grammar and vocabulary, because fragments of that original green language of light can be found in the divinatory systems used by all nautes, shaman and initiates, from the archaic oracles of the I Ching to the medievalism of the Kabbalah and the Tarot. 

By comparing these to the structure and processes of DNA, we can assemble a complex of photo-linguistic meanings that allow us to fulfil the ultimate goal of man’s spiritual quest and yearnings, that of reading the divine.

From this perspective, the mythic Akashic Records are simply the coils of DNA within every cell of your body, and they can be read by those who, in Ovason’s phrase, “have clothed themselves in the skin of the dragon,” that is, only by initiates who have learned the Green Language of Light and the entire history of the universe, from beginning to end, could be coded into our DNA.

  • Vincent Bridges, Reading the Green Language of Light