Green Language Techniques used by Nostradamus

Johnno

The Living Force
Could have posted this in books, The work or here.....decided on here.

Since there is a bit of a discussion going on in the behave/beehive thread regarding The Language of the birds or he Green Language, I thought I'd post some pages from David Ovason's The Nostradamus Code. he gives examples of various methods used with some examples.

I scanned and tidied this up this afternoon, if there are any errors or edits required let me know.

It makes reading Nostradamus no easier!

The following alphabetic list of Green Language techniques
used by Nostradamus is probably not complete, but
will certainly cover adequately the examples discussed in
this present work. The names attached to the techniques, as
denotations, are, with one exception, derived from the
literary tradition. The single exception is the term 'occult
blind', which is derived from the occult tradition. The fact
that we can examine the techniques of Nostradamus in the
light of the analytical tools of English literature should not
disguise the fact that Nostradamus often made up his own
linguistic rules. This, of course, means that in some cases
his methods are beyond simple classification. We have
attempted to give some insight into this complex use of
words below.

ANAGRAM
A word, or phrase, in which the letters may
be transported so as to form a new word or phrase. In
Nostradamus, the word Rapis stands for Paris: in this case,
as in most anagrams constructed by the master, the
anagrammatic treatment is not merely intended to deceive
or confuse, but also to produce a secondary meaning
(raptor, rapist or raped) which would be relevant to the
quatrain. The rape of Paris during the siege of 1870-71
would be a relevant example. Mendosus, which some have
wrongly translated as meaning 'the liar', is directly from the
Latin meaning 'full of faults', or 'deceptive'. The word is
probably an aphetic anagram for Vendosme, or Vendome,
which may relate either to the department of that name or
(more likely) to one or other of the Dukes of Vendome.
Nostradamus appears to have used few ana grammatic
sentences, but perhaps the most famous was the triple PAU
NAY LORAN, which was not a bad approximation, in the
sixteenth century, for NAPAULON ROY (see page 346).
Chien is said to be a syncopic anagram (see SYNCOPE) for
Chiren, which is in turn Henrie, a sixteenth-century way of
spelling the name of Henri II.

ANASTROPHE
A word used in Green Language to
denote the reversing of a word, sometimes in terms only of
letter forms, at other times only in terms of sound-values.
An example of the latter, mentioned on page 38, is the
anastrophe of HIRAM to MARIA, where the sound-value
of the final A is regarded as being the equivalent of the
Hebraic H. In exoteric literature the word is sometimes
used to denote an unusual order of words, as well as
Incomplete inversions. If this ground rule were adopted in
the study of Nostradamus, then virtually every line of the
Propheries must be considered anastrophic.

ANTONOMASIA
The substitution of an epithet to
stand for a proper name, or the use of a proper name to
represent a general idea. A few of the antonomastic words
joined by Nostradamus reflect his clairvoyance and his love
for irony. For example, his word doux, the French for
'sweet, gentle and affable' stands for Jacques Clement, who
assassinated Henry III in 1588: in Presage 58 - derived
from a quatrain in one of his almanacs - Clement is Doux la
pernicie. Nostradamus is being ironic, for the Latin clemens
means just about the same as the French doux.

Appearing frequently, le grand, or la Dame, are used to indicate
important or famous people, whose identities must be
determined from other clues within the context of the
quatrain. We are reminded that in the entry for the month
of his own death (see page 57 ff), Nostradamus predicted
the deaths of les grands: the plural may be taken as a
reference to the fact that Nostredame is a plural possessive.
In at least three quatrains, La Dame is Catherine de'
Medici, but the same word also represents Marie Antoinette
in two verses. La grande cite is sometimes Paris. Le
Pelletier notes that la grande cite neuve (the great new city),
which some modern commentators have read as meaning
New York, is a reference to the Paris reconstructed under
Napoleon III.

In quatrain X.49, on the other hand, the cite
neufve is definitely Naples (the ancient Neapolis, 'new city'
in Greek) - see page 366. In total contrast, the Cite neufue
of quatrain 1.24 is a reference to the name of the French
Vice-Admiral, Villeneuve (ville means 'town'), who served
under Napoleon - see page 369 ff. Precisely which new city
Nostradamus has in mind may only be determined from the
context of the quatrain.

APHESIS
Omission of a letter or syllable at the beginning
of a word. For example, Nostradamus uses the word
bondance for abondance: his aim is not merely to aid
scansion, but to introduce the notion of the bondage to
which abundance can give rise. The intriguing use to which
Nostradamus put the simple word eau (water) is instructive,
for in some cases it represented the water triplicities
(Cancer, Scorpio and Pisces) by antonomasia.

Just to add to the confusion, Nostradamus uses the same construction, in
other cases, to represent Aquarius, by the aphesis of the
French Verseau (as in quatrain IV.86 - see p. 283), and in
others, it represented a river or a sea. A simple aphetic
anagram used by Nostradamus is the innocent-seeming
Dedans (within, or in) which is intended to read Sedan, the
first important battle of which led to the fall of Paris, in
1871 (see p. 195). However, to make this reading viable as
an anagram, the rule of aphesis must be applied.

APOCOPE
The omission of a letter or syllable from the
ending of a word. The apocope Cap stands for Capet. A
more complicated example isfum for fume, or fumee: smoke,
or steam. In this case, as the apocope is in a quatrain
dealing with a battle (see p. 229 ff), the word may be
intended to suggest onomatopoeically the distant sound of
cannon - fum. In quatrain III. 53, which deals partly with
the treatment of the Jews under the Nazis, the two words Ie
pris are probably abridged for lepre (leprosy), relating
metaphorically to the Nuremburg laws. See also SYNCOPE.

ARCANE ASSOCIATION
This literary technique lies at the very basis of the Green Language: it is the use of
specialist words in such a way that they may be interpreted
as giving rise to further words with meanings evident only
to those familiar with the specialism. Thus, since one
zodiacal sign cannot be in another, the phrase Cancer in
boeuf is meaningless, in quatrain X.67. This will lead the
specialist to read Cancer as a reference to the Moon, as this
planet rules uniquely over the zodiacal sign Cancer. The
phrase would therefore read 'Moon in Taurus'.

Nostradamus is particularly fond of this kind of Green Language.
Perhaps more subtle is the way in which Nostradamus
would refer arcanely to such things as horoscopes which
contained data that reflected significantly upon the quatrain:
for example, in quatrain 1.31 he evokes a horoscope
which emphasizes the sign Leo to point to the three letters
contained in Napoleon's name.

Nostradamus is also fond of the arcane associations
offered by degrees of latitude. When using this method,
Nostradamus names a particular latitude (derived essentially
from the astrological tradition) in order to designate a
city or town. The main problem is that without the further
coordinate of the longitude, such a reference is ambiguous.
Thus, when Nostradamus refers to 45 degrees (actually,
Cinq f5 quarante degrez) in quatrain VI.97, he could have in
mind such cities as Bordeaux - perhaps even Perigueux Turin,
and perhaps Pavia, Cremona and Mantua, and,
given his clairvoyance, even Minneapolis, in the United
States.

However, he would not have had in mind those
other cities of the USA which the irrepressible Roberts
proposed, such as New York (which is at latitude 41
degrees) and certainly not San Francisco (which is as low as
36 degrees) nor even Chicago (which is in 42 degrees).

Non-specialists have tended to misinterpret these degree
references: for example, the first line of quatrain V.98 (A
quarante-huit degre climatterique - 'At 48 degree climata')
has been translated as relating to Paris, and this degree technically
inaccurate as it is - is given in the standard
astrological works of his day. However, this city is between
48 and 49 degrees, whereas Orleans, Le Mans and Freiburg
are exactly upon 48 degrees, and this means that there is
considerable ambiguity in the quatrains for the modern
reader.

Contemporaneous astrological texts, such as the
Orontius Fine of 1544, list latitudes for the main cities of
Europe, and however wrong they may be by modern
standards, they were widely adopted by sixteenth-century
astrologers. In the tables of houses published by Luca
Gauricus in 1533, the following are given:

Sicily 37 degrees
Rome 42 degrees
Venice 45 degrees
Bologna 45 degrees
Paris 48 degrees
London 54 degrees
Berlin 54 degrees

Fig. 53, taken from Oronce Fine, shows the latitudes for
the south of France, from 42 to 47 degrees - hence just
short of Paris - which we presume Nostradamus used.3 In
the example, quatrain V.98, the word climatterique is an
unnecessary repetition, perhaps intended to confuse the
uninitiated. It is coined by Nostradamus to indicate that the
degrees relate to the climata, the early-medieval equivalent
of degrees of longitude, which were already almost defunct
by the sixteenth century. In his Mundi Sphaera of 1542,
Fine remarks that these latitudes are 'what the vulgar call
the seven Climata'. When Nostradamus uses the degree
system (or the word dimata, in one form or another), then
he is clearly inviting one to regard the quatrain in terms of
arcane astrology.

ARCHAIZING
The use of old terms to denote thingsand places.
Nostradamus is fond of disguising his placenames
by using Greek and Roman names. One archaizing
name of which he is fond is Sextrophea, with which he
sometimes signs his almanacs: this refers to the monument
which still stands a mile or so outside his native SaintRemy.

As we see, on page 211 ff, this archaizing enters into
Ihe quatrains, though perhaps as a double occult blind.
Nostradamus delights in the ambiguities which archaizing
affords: for example, Ausonne is the old name for Bordeaux,
hut the Latin Ausonia meant the inhabitants of lower Italy.
When he uses this term, Nostradamus more frequently
intends the latter meaning. Boristhenes, the old term for the
river Dnieper, is archaizing for Russia. Lygustique (as in
quatrain IIL23) is archaizing for Liguria, but it often means
Italy, according to the law of SYNECDOCHE (see below).

As though his astrology were not already complex enough,
Nostradamus sometimes archaizes the planetary and zodiacal
names, as for example in the brassieres of VII.91,
derived from a Greek word which denoted Jupiter and
Saturn. A most remarkable example of archaizing is in
quatrain IX.14, which deals with the Battle of Waterloo,
with the words Sept. and borneaux: see page 230 ff, above.

EPENTHESIS
The adding of a letter or syllable to the
middle of a word. The Calpre of quatrain 1.77 is epenthesis
1.77 Calpe, the cape near to Gibraltar .

HOMONYMS
Words having the same sound and/or
spelling as another, but with a different meaning or origin.
The word Selin was the name of a historical leader of the
Turks (see page 242 ff), but it is also almost an homonym
for Selene, a Greek name for the goddess of the Moon. The
word Gaule is one of the names used by Nostradamus for
France,yet it appears in a context wherein it may be taken
as pointing to General Charles de Gaulle.

In some cases,Nostradamus creates his own homonyms,
to give a double connotation to a word. Thus, terroir can mean both
territory and terror, though properly speaking terror is
terreur, while terroir means soil or ground, in the sense of
'territory' .

HYPALLAGE
When, in a figure of speech, the epithet is
transferred from the appropriate noun to modify another,
to which it does not properly belong. The most cunning
hypallage in Nostradamus is one that kept commentators in
ignorance until after the event: this is the last line of
quatrain IV.65: L 'empereur tost mort sera condamne, from
which one assumes (quite wrongly, as it happens) that the
emperor lately dead will be condemned. The solution to the
hypallage is given on page 378 ff.

HYPHAERESIS
The omission of a letter to form a
word. Sometimes, the omitted letter can be of considerable
importance to the reading of the text. Nostradamus
frequently omits the letter s from words, without inserting
the traditional circumflex: an example which appears in
several quatrains is the hyphaeresis matim for mastim
(mastiff), as for example in quatrain X.59. In quatrain
III.53, Gaul is represented as Gale (see however HOMONYMS,
above). A typical hyphaeresis is Aper for Asper
which is an anagram of Aspre. This is in turn an ellipsis for
Aspromonte (a 'massif' in Italy), which Le Pelletier links
with an incident from the life of Garibaldi.

ICONOMATIC
This usage occurs when a word is
intended to be read as a rebus, as though relating to a
figure. Nostradamus, working only with words, uses the
rebus technique suggested by the Horapollo or Icon books.
The word coq is Gallus in Latin, which connotes France
(the word Gallus in Latin meant both cock and that area of
Europe which corresponds approximately to modern
France).

However, the Gallus was also a priest of Cybele
(the name said to be derived from the similarity between
the delirious ravings of the priests and the crowing of
cocks), and the connotation hinted at in the word coq is
emasculation (a condition attributed to the priests of
Cybele). In many instances, loup (wolf) is Italy, after the
wolf which suckled Romulus and Remus. On the other
hand, Romulides is also derived from the name of the
'founder of Rome', Romulus, and may denote either Rome,
or Italy. In quatrain I. 9, it seems to relate to the south of
Italy, whence succour came for the great siege of Malta, in
1565. One iconomatic word has survived (like coq) into
modern symbolism, for l'ours (the bear) is sometimes used
of Russia.

INVENTION
The invention of a new word only peripherally
connected with an existing word in a familiar
language. In Nostradamus, the familiar language is usually
Greek or Latin, but he occasionally invents from Hebrew,
and such European languages as English, German, Italian
and Provencial. The phrase Mars en Nonnay is invention,
for there is no such planetary position: almost certainly, the
Nonnay is Virgo, from the French nonne, or nonnain, as in
quatrain X.67. Another example is the sedifragues of
quatrain VI.94, which is from the Latin sedem frangere, 'to
break a siege'.

The phrase, Le Port Phocen, for Marseilles,
seems to be a more complex invention, for the Greek Phocis
was in ancient times a country of central Greece. The
seaport town of Massilia, founded as a colony from
Phocoea, was eventually known as Marseilles. Perhaps
Nostradamus used the ancient Greek reference because the
Phocens were warlike, being allied at times with the
Spartans. The bellicose planet Mars, which begins the
modern name Marseilles, is connoted in the French word.

Phocus (with its undertones of homonymous 'focus') is not
merely Marseilles, but a warlike Marseilles in a state of
martial endeavour, or even revolution.

METATHESIS
The interchanging of consonant sounds to produce different (though relevant) words.
For example, brune is metathesed by Nostradamus in brume. In quatrain
III.53, which deals with the Second World War, Nostradamus
subjects the German place name Augsburg to metathesis
by rendering it Auspurg. The new word is relevant
because the quatrain seems to relate to the expulsion of the
Jews, (literally, an aus purgans, to remain with the German)
under the Nuremburg Laws.

METONYM
A word used as a valid transference, in
which an attribute of a thing or person is used to denote
that thing or person. The word bossu, deformed, is used as a
metonym for the prince of Conde, who was a small
hunchback. A better example from Nostradamus is the
word boiteux (lame) which could refer to the Duke of
Bordeaux, who was lamed in a fall at Kirchberg in Austria
in 1841.

The application in this case is virtually double
because of the close HOMONYM between boiteux and
Bordeaux. In quatrain V.4, le cerfis probably a metaphor for
Charles X, who was chased from France. Used in this
sense, cerf is a metonym, yet it is something more than
merely a metonym in its reference to Charles X as a hunted
creature, driven from the fields of France. Charles, prior to
being made king of France, was the Count of Artois: the
cerf is, of course, the hart in English. After he was driven
from France, he went to England. (By a strange coincidence,
during his first stay in this country, he lived at
Hartwell.)

PARAGOGE
The adding of a letter or syllable to the end
of a word. Selene is a paragoge for Selin, but the former is
intended to add an additional connotation to the latter, by
virtue of its connection with the Moon (Selene was an
ancient Moon goddess). The French word Amerique, which
was used for the Americas in the sixteenth century, was
sujected by Nostradamus to both SYNCOPE (Amerique to
Americ), and paragoge when he offered the word Americh:
whether this is paragoge or METATHESIS is anyone's guess.
This version of the word appears in the first line of
quatrain X.66.

Whether he wanted to connote the fabulous
riches (rich) of the place, which were in his day being
exploited by the Spanish, or whether he had some other
arcane design in mind is unclear. One thing is evident,
however: in making this change, he elected for once not to
make a rhyme with the third line (the normal rhyming
structure is alternative in couplets).

The word which would
anticipate such a rhyme is Antechrist. The fact that the H of
the Roman alphabet is the equivalent of the E of the Greek
alphabet is probably significant here, for the difference
between Antechrist and Antichrist is of profound importance
in the arcane and theological traditions. Perhaps
Nostradamus is anxious to show that he is writing of the
one: who comes before Christ (Antechrist), rather than of
the one who will oppose Christ (Antichrist).

PROTOTHESIS The adding or a letter or syllable to the
beginning of a word.

REBUS A riddle by which pictures, letters or sentences
are read in terms of sound values. It is not surprising that
Nostradamus should have used this device, since the rebus
(for all it is a Latin word) was highly popular in France
during the sixteenth century, when it was called 'style de
Picardie'. It has been argued by many that the dedication to
Henry II, in the Epistle, was to some other king than the
one who died in a golden cage (see page 236 ff).

This argument (to which we do not subscribe) is supported by
the reading of the words Henry II as Henri secundus, which
means (in Latin), Fortunate Henry. Although the rebus is
essentially a pictorially based art, Nostradamus uses it in
clever literary ways. For example, he will refer to an
heraldic coat of arms in order to distinguish (arcanely, of
course) a ruler.

The lys can be a French king, because the
French coat of arms bears the fleur-de-Iys (see page 223).
The classical French rebus is Ga, which reads G grand, a
petit (big G, small a): When pronounced in French, this
reads: J'ai grand appefit (I have a big appetite). The word
rebus is probably the only term used to denote a form of
Green Language which is itself from that same strange
tongue.

Rebus, in its arcane sense, seems to be from
alchemy, and is linked with Rebis, which means in ablative
Latin, 'the thing twice'. The thing twice is the thing seen
from two aspects, once in a material sense, a second time in
a spiritual sense. The construction should remind us that
the initiate is sometimes called 'the one of the two levels'.

In some alchemical documents, the rebis is said to be an
egg, or the contents of an egg, consisting of red and white,
'in the same proportion as in a bird's egg'. In this image,
the red is the yolk, the white the glair.

There are seven levels to every alchemical symbol, but this red
and white is the blood and tissue of the human being who, as the
Buddha said, lives in an eggshell, even though the shell of
the philosophic alchemist is a far from auric thing,
sheathing bodies quite invisible to ordinary vision.

The Red (rouge) and the White (blanc) to which Nostradamus
frequently refers in his quatrains, are at once alchemical,
political and ecclesiastical symbols, according to the spiritual
literacy of the reader. See also ICONOMATIC.

SYNCOPE A Greek word meaning 'cutting short' - in
literature, an abbreviation. Technically, the word is virtually
interchangeable with APOCOPE, but it seems to be
accepted practice to denote massive cuts by syncope and
the lesser abbreviations by apocope.

For example, the Ast of quatrain II.15 is apocope for the place name, Asti. On
the other hand, in quatrain II.83, the word pille (quatrain
II.83) is syncope for pillard or pillage (pillage, or destruction).

The syncope Phi means Philip. The word Auge,
which could be taken as the German for 'eye', could also be
a syncope of the verb Augmenter. As with the anagrams, one
purpose (beyond mere disguise) is to add a further meaning
to the word: thus, Carats may mean Carcassonne, but the
word also carries with it the idea of a dead body (carcasse),
and hence a killing. Foreign syncopes are words or phrases
derived from non-French sources, and in some way
changed so as not to be immediately recognizable.

Cron is an abridgement for the Greek Cronon, its significance in
quatrain III.91 being that it is linked with a lame prince:
not only is this prince in some way imperfect, but so is the
word Cron an 'imperfect' form of a word. In this context,
see boiteux under METONYM. The most remarkable sentence
syncope we deal with in our text is the last line of
quatrain IX.14, marked with the distinctive abridgment sign
Sept., which we discuss on page 230. This is a curious
apocope, for it is not completed until the last word of the
same line.

SYNECDOCHEA literary technique of 'part for the
whole', by which a less comprehensive term (such as the
name of a town) is used to represent a more comprehensive
Icrm (in this case, the country in which this town is
located). The quatrains of Nostradamus abound in synecdoches.
A good example is Londres (London) to represent
England, or even the British Isles. In quatrain VII.26
Madrid stands for Spain, the Chef de Madrid being the
Spanish Admiral.

The more obscure Boristhenes is the old
name of the Dnieper, and therefore an example of archaizing,
but Nostradamus uses it to denote the vast territories
divided by this river - notably, the territory to the east,
which is mainly Russia. Blois may stand for that city, but it
may also stand for a particular ruler associated with Blois,
such as Henry of Guise. The Liguriens should really mean
those from Liguria, or the Genoese, but the word may also
stand for the Italians as a whole. A remarkably prescient
example of synecdoche by Nostradamus is his use of the
word Isles to denote Britain, as the British Isles.
 
Johnno said:
Could have posted this in books, The work or here.....decided on here.

Since there is a bit of a discussion going on in the behave/beehive thread regarding The Language of the birds or he Green Language, I thought I'd post some pages from David Ovason's The Nostradamus Code
I, myself wasn't sure whether to post on the behave/beehive thread or on this one but decided to post here.

I've been meaning to learn more about the Language of the Birds since reading Refuge of the Apocalypse and when different kinds of song birds kept appearing at my office window this summer or came swooping down from who knows where to land right in front of me and then just chirp away like I should know what they're saying, and then this thread appeared; I knew something had to be done. So thanks for providing an opportunity to explore this more, I hope others find it interesting, too.

The Sufi aphorism at the beginning of the chapter on the Language of the Birds in Refuge of the Apocalypse is:
The secret protects itself. It is found only in the spirit and the practice of the Work.
In David Abram's book, The Spell of the Sensuous he says:
In such indigenous cultures the solidarity between language and the animal landscape is palpable and evident. According to Ogotemmeli, an elder of the Dogon tribe of Mali, spoken language was originally a swirling garment of vapour and breath worn by the encompassing earth iteslf. Later this undulation garment was stolen by the jackal, an animal whose movement, ever since, has disclosed the prophetic speech of the world to seers and diviners. Many tribes, like the Swampy Cree of Manitoba, hold that they were given spoken language by the animals. For the Inuit, as for numerous other peoples, humans and animals all originally spoke the same language. According to Nalungiaq, an Inuit woman interviewed by ethnologist Knud Rasmussen early in the twentieth century:

In the very earliest time
when both people and animals lived on earth,
a person could become an animal if he wanted to
and an animal could become a human being.
Sometimes they were people
and sometimes they were animals
and there was no difference.
All spoke the same language.
That was when words were like magic.
The human mind had mysterious powers.
A word spoken by chance
might have strange consequences.
It would suddenly come alive
and what people wanted to happen could happen -
all you had to do was say it.
Nobody could explain this:
That was the way it was.


Despite this ordinary language common to both people and animals, the various animals and other natural forms today speak their own unique dialects. But nevertheless all speak, all have power of language. Moreover, traces of the primordial common language remain, and just as a human may suddenly understand the subtle gestures of a deer, or the gutteral speech of a raven, so the other entities hear, and may understand, our own talking.

Owls often make it difficult to speak Cree with them. They can cause stuttering, and when stuttering is going on they are attracted to it. It is said that stuttering is laughable to owls. Yet this can work to the Cree's advantage as well, for if you think an owl is causing trouble in your village, then go stutter in the woods. There's a good chance an owl will arrive. Then you can confront this owl, question it, argue with it, perhaps solve the problem.
Most indigenous hunting peoples carefully avoid speaking about the hunt beforehand, or referring directly to the species that they are hunting, lest they offend the listening animals themselves. After the kill, however, they will speak directly to the dying animal, praising it, promising respect, and thanking it for offering itself to them.
Yet those who are recognized as shamans, or medicine persons, who most fully remember the primordial sacred language, and who are thus able to slip at will, out the purely human discourse in order to converse directly with the other powers. As Mircea Eliade writes:
The existence of a specific secret language has been verified among the Lapps, the Ostyak, the Chukchee, the Yakut, and the Tungus. During his trance the Tungus shaman is believed to understand the language of all nature...
Very often this secret language is actually the "animal language" or originates in animal cries. In South American the neophyte must learn, during his initiation period, to imitate the voices of animals. The same is true of North America. The Pomo and the Menomini shamans, among others, imitate bird songs. During seances among the Yakut, the Yukagir, the Chukchee, the Goldi, the Eskimo, and others, wild animal cries and bird calls are heard...
Many words used during the seance have their own origin in the cries of the birds or other animals..."Magic" and "song" - especially song like that of the birds - are frequently expressed by the same term. The Germanic word for magic formula is galdr, derived from the verb galan, "to sing," a term applied especially to bird calls.
I have unsuccessfully been trying to get my hands on Robert Graves' book, The White Goddess, since that is the other source for information on language of the birds in the chapter in the Refuge (besides Fulcanelli) to learn more. I like how Abrams puts this desire to understand language (though he isn't quite referring to it the way that I am);
Abrams said:
Only if words are felt, bodily presences, like echoes or waterfalls, can we understand
the power of spoken language to influence, alter, and transform the perceptual world
Or maybe he is?
 
thanks for this post Johnno! that list and the explanations are very interesting, and much more in-depth than what i've been able to find so far (admittedly not a long time) in reading about Green Language.

there was kind of a neat detail in there for me personally, where Ovason writes in relation to anagrams:

David Ovason said:
but perhaps the most famous was the triple PAU NAY LORAN, which was not a bad approximation, in the sixteenth century, for NAPAULON ROY
when i was in France, i stayed in the city of Pau in the southwest. one of the main "attractions" of the city is the Chateau de Pau, which at one point was used by Napoleon. i wonder if Nostradamus' use of that anagram had any relation to the city. or perhaps (and this may be stretching) it could be read as "Pau not Lorraine" in relation to Napoleon's physical location? don't know about that one though...

Johnno said:
It makes reading Nostradamus no easier!
no kidding! :) speaking of which, the solution to the hypallage that Ovason mentions...

David Ovason said:
HYPALLAGE - When, in a figure of speech, the epithet is transferred from the appropriate noun to modify another, to which it does not properly belong. The most cunning hypallage in Nostradamus is one that kept commentators in ignorance until after the event: this is the last line of quatrain IV.65: L 'empereur tost mort sera condamne, from which one assumes (quite wrongly, as it happens) that the emperor lately dead will be condemned. The solution to the hypallage is given on page 378 ff.
any chance you could post that if it's not too much bother to scan? would the epithet be "tost mort" or "condamne", and what other noun would it be transferred to aside from L'empereur? i suppose "The most cunning hypallage in Nostradamus" wouldn't be that obvious. :)

also, thought this was interesting...

David Ovason said:
ARCANE ASSOCIATION - This literary technique lies at the very basis of the Green Language: it is the use of specialist words in such a way that they may be interpreted as giving rise to further words with meanings evident only to those familiar with the specialism. Thus, since one zodiacal sign cannot be in another, the phrase Cancer in boeuf is meaningless, in quatrain X.67. This will lead the specialist to read Cancer as a reference to the Moon, as this planet rules uniquely over the zodiacal sign Cancer. The phrase would therefore read 'Moon in Taurus'.

Nostradamus is particularly fond of this kind of Green Language. Perhaps more subtle is the way in which Nostradamus would refer arcanely to such things as horoscopes which contained data that reflected significantly upon the quatrain: for example, in quatrain 1.31 he evokes a horoscope which emphasizes the sign Leo to point to the three letters contained in Napoleon's name.
it reminded me of something from Mysteries of the Cathedrals (it's on the brain right now, as i'm re-reading it and discovering much more on each page)

Fulcanelli said:
On the external surface of the pillars, supporting the lintel, the signs of the zodiac are represented. Beginning from the bottom, you find first of all Aries, then Taurus and above that Gemini. These are the months of spring, indicating the beginning of the work and the propitious time for operations.

The objection will no doubt be made that the zodiac cannot have any occult significance and that it represents quite simply the path of the constellations. This is possible. But in that case we should have to find the astronomical order, the cosmic succession of the signs of the zodiac, which was certainly known to our Ancestors. However, here Leo succeeds Gemini, this usurping the place of the imager, therefore, intended, by this cunning transposition, to indicate the conjunction of the philosophic ferment--or the Lion--with the mercurial compound, a union which must be achieved towards the end of the fourth month of the first Work. [bolding mine]
...

mamadrama said:
I've been meaning to learn more about the Language of the Birds since reading Refuge of the Apocalypse and when different kinds of song birds kept appearing at my office window this summer or swooping down from who knows where to land right in front of me and then just chirp away like I should know what they're saying, and then this thread appeared; I knew something had to be done. So thanks for providing an opportunity to explore this more, I hope others find it interesting, too.
i can relate to your experience there, in the sense of it being synchronistic. as i was studying French, i became interested in l'argot (roughly, "slang") because it wasn't taught much in the classroom and only referred to occasionally by the profs. as i read more and spoke with people, i learned about Verlan, or "l'invers", wherein words are split into their syllables and then reversed, yielding something similar to pig latin. then when i began reading Laura's work and subsequently Fulcanelli, it dawned on me that "la langue inverse" (the reverse language) sounds similar to "la langue en verte" (the language in green). shortly afterwards i read Fulcanelli's descriptions of "argot" and its relation to Green Language, and it was a very cool moment of connection... and now this thread! :)

mamadrama said:
In David Abram's book, The Spell of the Sensuous he says:
[...]The existence of a specific secret language has been verified among the Lapps, the Ostyak, the Chukchee, the Yakut, and the Tungus. During his trance the Tungus shaman is believed to understand the language of all nature...[...]
the reference to the Lapps reminded me of a practice of the Saami (native Lapp/Finnish) called Joik (pronounced "yoik"). each animal has its own joik and the Saami shamans would use tonal sounds (vaguely similar to throat-singing) to communicate with the animals. _http://en.wikipedia.org/wiki/Joik

mamadrama said:
I like how Abrams puts this desire to understand language (though he isn't quite referring to it the way that I am);

Abrams said:
Only if words are felt, bodily presences, like echoes or waterfalls, can we understand the power of spoken language to influence, alter, and transform the perceptual world
Or maybe he is?
it looks like he is, imo... but i may be misinterpreting how you're referring to it... as i read, Green Language is starting to seem as though a template of sorts - less a prescribed set of parameters to follow and more a general way of speaking AND of listening. so, in that sense it could be found anywhere, from the reflection of the Fibonacci sequence and the Phi spiral throughout nature to the writings of Nostradamus and the old alchemists. in reaching out to find the hidden connections between things - their natures, their names - it seems sometimes as though the whole universe is speaking Green...
 
JonnyRadar said:
Green Language is starting to seem as though a template of sorts - less a prescribed set of parameters to follow and more a general way of speaking AND of listening. so, in that sense it could be found anywhere, from the reflection of the Fibonacci sequence and the Phi spiral throughout nature to the writings of Nostradamus and the old alchemists. in reaching out to find the hidden connections between things - their natures, their names - it seems sometimes as though the whole universe is speaking Green...
Quelle magnifique! (Some day me talk pretty :) )

I had not heard it referred to as the Green Language before (or at least I don't recall it); I love that. It reminds me of a French folktale, "Le Conte Du Secret de la Fougere" (The Story of the Secret Ferns) retold by Henri Pourrat. In this tale though, plants hold the secret language of nature. It begins like this:
Many generations ago, when the waters ran clear and free and the forest stretched as far as the eye could see and the few villages that had been built were many days apart, there lived a race of people of the woods. They found all they needed in the wild places.
In those days, the woods people understood the ways of nature. Earth spoke to them through the roots of ferns. As the black roots curled and reached through the soil, they formed the letters of an ancient language. In order to read the words, however, one had to uncover every letter. But the fern roots were fragile. Whenever someone tried to dig them up, they would break into pieces and become lost in the grains of soil. The people of the woods, who lived closest to the Earth, had uncovered this language one letter at a time over countless generations and were the only ones to have discovered the meaning of these ancient words. Some say the message was the secret of happiness. Others say it was the deepest secrets of the Earth itself...

Much of what I've read in Refuge... requires a pretty solid knowledge of astrology. Have you found that to be true in your studies? I think I'm going to have to get a better knowledge of it, I if I want to progress further with this.
 
the French have the best folktales... thanks for sharing that! speaking of which, have you read Les Fables de La Fontaine? you might enjoy it... kind of like the French version of Grimm's Fairytales (though that may be a vulgar classification)...

mamadrama said:
Much of what I've read in Refuge... requires a pretty solid knowledge of astrology. Have you found that to be true in your studies? I think I'm going to have to get a better knowledge of it, I if I want to progress further with this.
yes and no - meaning yes, i have found that a knowledge of astrology is quite helpful, and no, i don't have it. :P i wouldn't place myself any higher than "novice" in that regard, though i'm learning as i go. one thing i have found helpful is to make note of when authors use references to astrology and what the context is - whether it seems shady (i.e. disinfo), nonsense word-salad, or a genuine attempt to communicate. if the author is sincere in general and seems to be interested in truth, then their more obscure references beg closer examination, imo...

but that's just the problem, so to speak - getting caught up with looking for obscure clues can blind one to truths that are readily apparent, and one could find oneself "lost in translation" with no guiding purpose just for the sake of searching out the mysterious. so for me personally, gathering "real meaning" from astrological references is kind of walking a fine line between total confusion and/or finding a really neat clue/connection.

i suppose it depends largely on how broadly one sees "the big picture" and can hold the wide-angle view without getting caught up with the devil way down there in the details...
 
Thanks for the reference and link to Les Fables de La Fontaine, I have not yet read it.

JonnyRadar said:
but that's just the problem, so to speak - getting caught up with looking for obscure clues can blind one to truths that are readily apparent, and one could find oneself "lost in translation" with no guiding purpose just for the sake of searching out the mysterious. so for me personally, gathering "real meaning" from astrological references is kind of walking a fine line between total confusion and/or finding a really neat clue/connection
So true...Sigh. I'm mostly interested, though so that I can better comprehend the old texts.

Seeing the forest through the trees (or so I hope).
 
The Language of the Birds, the Green Language, the Language of the Gods, and the phonetic cabala is quite important. This strange wordplay was often used in alchemical treatises, and also by Fulcanelli. Fulcanelli states the phonetic cabala is the key to unlock all mysteries. I can easily see this as being the case. It's also the true way to gain xenoglossia, or an understanding of all languages. It allows us to travel back in time and analyze the original language of our ancestors before the curse of Babel (babble, speak incoherently). We can do this because of our unique system for word analysis (i.e. the phonetic cabala itself), and also because all languages maintain common phonetic traits!

It's very rare to find individuals with an understanding of the phonetic cabala and its important relation to language. It's even rarer to find somebody with a knack for this stuff. I should mention something to those alchemists out there with understanding of the art: agnus and ignis. Our lamb, is our fire. Our fire is not a vulgar fire.

Here's another for those lacking initiation into the art of alchemy: Aleister Crowley. Crowley picked this name for a very specific reason. His first name relates to an important part of his Thelemic dogma: "3. Every man and every woman is a star. " This is from Crowley's most famous work: the Book of the Law. Pay attention here: this passage can be shorted to all a star. Aleister can be phonetically mutated to Al-ei-ster, al-a-ster, and then all-a-star. This is well within the rules of the phonetic cabala. Aiwass is the being that is said to have dictated the Book of the Law to Crowley. Aiwass is also a word we can unlock by using the phonetic cabala.

Aiwass = Aivass = Aiviss = Avis

Avis is Latin for "bird" or "omen, portent." Could this be a reference to an alien entity, i.e. a bird, or being from the sky? Was Aiwass really an alien intelligence? I don't know, but the phonetics really raise a red flag to me! Crowley certainly had it within his bounds to concoct these phonetic riddles. However, I think I'm the first to come up with these ideas. I've never heard Crowley, or any of his followers mention these things.

Is it asinine, or a sign? A portent is important! :grad:

EDIT: I wanted to also mention the way to understand Nostradamus is by going directly to the old french version. You'll find what you're looking for there. The English translations won't be proper in this situation.
 
Hello Aleilius, welcome to the forum.

Please note that we appreciate new members posting a brief intro about themselves in the Newbies section. No need to share personal information, just give us a general sense of what led you to this forum, how long you've been reading it and/or the SOTT page, whether or not you've read any of Laura's books yet, etc.

:)
 
Wow
First time i ever found a site with anyone even with a bit of knowledge about the green language techniques!
if one is able to be adept enough in using it, one then can figure out how to apply the green language techniques, to any of the ancient writings, in any lanugage!!!
Wow fabulous stuff !!!!
What i enjoy most about using the green language techniques is that it is almost like being able to speak or use many different concepts of being able to read, or comprehend, in multiple ways, while doing so, all at once!
the main thing to remember is that even while using the green language, within one, quatrain, ( i am going to use Nostradamus here as an example) that there is the ability to use more than just one, of the green language techniques in a sentence or even with just word.
Ovason gives some good techniques to try out, but even he doesnt cover them all, or use them all as examples in his books.
even in the begining the first creation was "green" then came animals, then came man...
 
Hello hottcherri, welcome to the forum. Like PepperFritz said, it's appreciated that new members post an introduction in the Newbies section with a description of how you arrived here, what material of Laura's and/or the SOTT page you've read, etc.

:)
 
hottcherri said:
Wow
First time i ever found a site with anyone even with a bit of knowledge about the green language techniques!
if one is able to be adept enough in using it, one then can figure out how to apply the green language techniques, to any of the ancient writings, in any lanugage!!!
Wow fabulous stuff !!!!
What i enjoy most about using the green language techniques is that it is almost like being able to speak or use many different concepts of being able to read, or comprehend, in multiple ways, while doing so, all at once!
the main thing to remember is that even while using the green language, within one, quatrain, ( i am going to use Nostradamus here as an example) that there is the ability to use more than just one, of the green language techniques in a sentence or even with just word.
Ovason gives some good techniques to try out, but even he doesnt cover them all, or use them all as examples in his books.
even in the begining the first creation was "green" then came animals, then came man...

Welcome to the Forum hottcherri - as is customary here, please visit the Newbies section. There's no need to share personal information, just how you arrived here, if you read the SOTT page, if you've read any of Laura's books yet, etc.

Edit: oops, looks like 3D Student already addressed the Newbies posting. (thanks, 3D Student) :)
 
The green language, is used in alot of famous movies, if one knows how to spot them....
for instance, in the movie "khartoum," with charles heston and lawrence olivier as the mahdi..while the two meet in the mahdi's tent, you can see what is clearly displayed as a hidden silent green language in use, in the background.....behind where they sit....
there are these large vividly green cloths, draped across the background, , two pieces of this green cloth, to give the interpretation of the mahdi propehcies of/from the green language techniques/applications.....
of course first you have to understand where and what the mahdi prophecies are meant to say/be, to know that the expected one, long awaited, will come from an ancient green background..as part of the identification of the one they are awaiting....
using the green language also involves the technique of being able to read what is not most obvious, but also what is hid, int he space or hid in the spaces or gaps of things.....it is almost like sometimes describing the ability to be able to read what is hidden...on purpose
 
i liked the part about "this strange wordplay" when you spoke of the word "cabala"
in mayan text, the cabala word, would be "cbowla" using green language can you turn the word cabala into cbowla.
cabala/cbola
cbowla or cbola is the secret entrance to the cities of gold..and you need to use green language to help interpretate that.
there are even greek statues or egytptian statues of women, holding a bowl, trying to get that message across to ever whom looks upon this statue, for the real hidden meaning of her holding the bowl....cbola..cbowla..cabala
and if you can figure that out, then youknow how to apply some fo the green language techniques
 
does anyone remember the old nursery rhyme...rub a dub dub..three men in a tub..the butcher the baker and the candlestick maker.....
orginally the rhyme was three women in a tub......
the tub, is the bowl..the bowl is the source of raw power
hidden within a nursery rhyme using a green language technique
it is also the basis of a scinetific formula for generating energy/power
for what happens when you put three female atoms into a vortex circulating motion and collide them into each other? what do they birth??? a new form of hidden energy.
all hidden within a nursery rhyme made up of green language techniques.......
thats why they changed the three women into three men....in this nursery rhyme, to hide something using green language to decipher it.
 
hottcherri said:
it is also the basis of a scinetific formula for generating energy/power
for what happens when you put three female atoms into a vortex circulating motion and collide them into each other? what do they birth??? a new form of hidden energy.

Could you please explain what a 'female atom' is?
 
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