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Oct. 30, 2001 - Bill Cooper
01:11:05
Mystery of Fulcanelli
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♪♪ ♪♪
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♪♪ I'm William Cooper.
You're listening to the Hour of the Time.
I'm William Cooper.
Good evening, folks.
Tonight is one of those nights you better get pen and paper and pencil and something
to snack on and maybe a glass of water or tea or whatever it is that you like to drink
while you listen to the Hour of the Time.
You're going to want to take notes and I'm going to give you some books that you're going to want to read
as we continue on our quest, our little march toward Albion.
🎵🎵🎵 🎵Some say love is a river that drowns the tender wreaths🎵
Some say love is a razor that leaves your soul to bleed.
Some say love, it is a number.
An endless aching release.
I say love, it is a flower.
And you, it's always near It's the heart, afraid of fear
That never learns to dare It's the dream, afraid of waking
That never takes a chance It's the one who's only taken, who cannot be seen.
And the soul afraid of dying that never learns to live
When the night has been so lonely and the road has been too long, can you say that love is only for the weak and
the strong?
Just remember if you're a winter, follow me, love is a snow Fly in the sea, that winter comes out in the spring because
the rose is so beautiful.
Tonight, folks, we're going to talk about one of the greatest mysteries of the last century.
From our perspective during the second year of the new millennium, cosmic end-of-cycle
perspective, World War I, the Great War, to those who lived through it,
Feels as ancient as all those other senseless wars in history.
Our only connections with that conflict are faded, sepia-toned images of our ancestors killing each other for reasons vaguely understood, even to themselves.
Most people, even in this listening audience, would be hard put to explain exactly why World War I was fought And why so many men went to give their lives in it.
Demoted by an even greater war, one so large that nothing but the title World War could possibly encompass it, the Great War became a mere fancy dress prelude to an entire century of destruction and horror.
And indeed, the twentieth century was exactly that.
The bloodiest, most devastating, most destructive century in the history of the world.
Reading of the ideals and passions of that long-forgotten era feels embarrassing to most of us now.
If we think of it at all, we assign it an emotional value somewhere between a massive industrial accident The Migration of Lemmings to the Sea.
When we look back through history, we find many wars and disasters, plagues and conquests, volcanic eruptions, climatic changes and mass migrations.
But, ladies and gentlemen, we find nothing quite like the Great War.
Four hundred years of European intellectual, moral and technical superiority.
created and fed the engines of industrialized murder.
These forces, in turn, consumed the very social order which had created them, and after four years the self-proclaimed masters of the universe lay broken and bleeding in the wasteland, saved from ultimate extinction only by the interference of the United States and its revolutionary Republic.
Cultural suicide, perhaps?
An apocalypse, by any other name, ladies and gentlemen, is still an ashadological event.
It's the end of the world for the inhabitants of that world.
For example, near the end of the Great War, in September of 1918, the Turkish Twelfth Army, holding the ridgeline in front of Damascus, which included the ancient mound of Medigo was attacked and destroyed by the combined use of airplanes, tanks, and cavalry.
This battle, eerily described in St.
John's Revelation, Chapter 16, suggests that Armageddon occurred in 1918.
Not only is the battle clearly delineated, but it occurred in the midst of the worst plague since the Black Death of the fourteenth century.
Revelation's apocalypse looks much like the history of the 20th century, leading up to one final millennial explosion.
Could this be true?
Well, ladies and gentlemen, the millennium has come and gone, and so we know it has not as yet occurred.
There's always the possibility that our method of keeping time is not the same.
method used in predicting time by John in his book of Revelation.
Was the prophecy of Revelation an ongoing process that essentially started sometime before the Great War?
Was the twentieth century an unfolding of the final book of the Bible, when the Great War finally ended?
On the eleventh hour of the eleventh day of the eleventh month, the old world, with its noble and imperial ways, was well and truly dead.
The victorious Allies, propped up the corpse of Europe and using all the tricks of the undertaker's trade, gave it the brief appearance of animation.
This lasted just long enough to necromancy a treaty together at Versailles.
It decomposed soon enough, its stench conditioning Europe for the burned bacon aroma of the Nazis soon to come.
But while it lasted, this zombie summer of fast-fading European superiority galvanized the entire world.
The epicenter of this fleeting renaissance was Paris, the City of Light.
During the war, this city had been the goal for which millions of men had marched, fought, bled, and died.
As it had been for centuries, Paris was a symbol to both sides in the conflict of something irrepressible in the human character.
After the war, it became a For all those who felt that the world must be changed somehow by the horror and sacrifice of the war, and that this change must mean something, say something, and do something.
They went to Paris like insects drawn to the light of immolated cultures, having burned their candles all at once in the final apothé of European civilization.
They firmly That out of that conflagration would come a better world.
Same dreamers dreaming the same dream.
And so they came to Paris to help create that world.
Mystics, visionaries, painters, poets, artists of all kinds.
Scientists, political thinkers, revolutionaries.
Expatriates all looking for that new world of hope, peace and freedom, which they felt must grow out of the war to end all wars.
The conflict, they thought, had made them all equal now.
They mingled on the boulevards.
They talked at the cafés and bars and bookstalls.
They plotted and painted late into the night in small cold-water flats in the Montmartre, or danced and drank in the nightclubs and Demimonde's dives of the Latin Quarter.
As if driven by deep-rooted survival guilt, everyone wanted to live fast, fully and gloriously.
Apocalyptic twenties appeared to be the light of the world, the flashpoint of history and the beginning of the end of time itself.
And remember that statement, the beginning of end of the end of time itself.
Remember that, because I'm going to repeat that theme throughout this broadcast.
Out of all this too-brief efflorescence emerged artistic, literary, social, political and scientific concepts that shaped much of the rest of the twentieth century.
From the surrealists such as Hans Arp and Marcel Duchamp, to the mathematics of Paul Dirac, to the literary pyrotechnics of James Joyce, the idea of transformation, transformation bubbled just below the
surface. Remember that also, for that will be, too, a recurring theme. It was at the zenith
of this transformative undercurrent that in 1926 an anonymous volume, issued in a
luxury edition of three hundred copies only by a small Paris publishing firm known mostly
for artistic reprints, rocked the Parisian occult underworld.
Its title?
The Mystery of the Cathedrals.
The author?
Fulcanelli.
He claimed that the great secret of Alchemy, the queen of Western occult science, was plainly
displayed on the walls of Paris's own cathedral, Notre-Dame de Paris.
.
And he was right, as you've heard on previous broadcasts.
In 1926, alchemy, by our post-modern lights, a quaint and Credited renaissance pseudoscience was in the process of being reclaimed and reconditioned by two of the most influential movements of the century.
Surrealism and psychiatry stumbled onto alchemy at about the same time, and each attached their own notions about reality to the ancient concept.
Carl Jung spent the twenties teasing out a theory of the archetypal unconscious form of the symbolic tapestry of alchemical images and studying how these symbols are expressed in the dream state.
The poet, philosopher André Breton and the Surrealists made an intuitive leap of faith and proclaimed that the alchemical process could be expressed artistically.
Breton, in his 1924 Surrealist Manifesto, announced that Surrealism with nothing but alchemical art.
Paul Cannelli's book would have an indirect effect on both of these intellectual movements.
Indirect, ladies and gentlemen, and here we begin this great mystery, indirect because the book managed a major literary miracle.
It became influential While remaining apparently completely unknown outside of French occult and alchemical circles, and remember there were only 300 copies in existence.
Now this is perhaps the strangest of all the mysteries surrounding the mystery of the cathedrals.
One illustration suffices to show the magnitude of the occasion.
The occasion, ladies and gentlemen, being the occlusion, the hiding, the secreting of
the source of all that was influenced.
Thank you.
Take any art history text on the Gothic cathedrals written in the last thirty years and look at what it says about the obscure images found on the walls and entranceways of Notre Dame.
You will find, four times out of five, that alchemy is mentioned as a possible meaning for these vaguely Christian images You will also find, especially if the textbook is in English, that Fulcinelli and the mystery of the cathedrals are not ever given as a source or mentioned in any way whatsoever, although it is the only source from which such information could have been obtained.
There was, and you may have seen it, a popular television special in
alchemy hosted by Leonard Nimoy.
It used the very same images from Notre Dame that Fulcanelli presents in his book, describes
them in direct Fulcanelli paraphrase, and never ever mentions the source, as Fulcanelli
are les mysteries des cathedrals.
It's as if the concept entered common usage without ever being individually articulated.
Do you believe that?
Well, we may call this the dog-that-didn't-bark-in-the-night effect.
Like the dog that doesn't make a sound while the house is robbed, Fulcinelli's work is conspicuous by its absence.
On the other hand, the book's widespread influence suggests an importance far beyond the antiquarian idea that the cathedrals were designed as alchemical texts.
To understand the silence, it might be a good idea to try and understand Fulcinelli, the earliest known The first incident where his name was ever mentioned was in 1926 when publisher Gene Schmitz received a visit from a small man dressed as a pre-war bohemian with a long asterisk.
you know, that big gall-style mustache, thick, crossing the midline of the face above the
lip, but not curled up or hanging down.
.
The man wanted to talk about Gothic architecture, the green argot of its sculptural symbols, and how slang was a kind of punning code, which he called The Language of the Birds.
A few weeks later Mr. Schmitt introduced to him again as Jean, or Jean in the French,
Julian Champagne, the illustrator of a proposed book by a mysterious alchemist called simply
Fulcinelli.
Mr. Schmitt thought that all three, the visitor, the author and the illustrator, were the same
man and perhaps, perhaps they were.
And this is the most credible Fulcinelli sighting beyond this.
He exists as words on a page and in some occult circles as a mythic alchemical immortal with the status or identity of a Saint Germain.
There were two things that everyone agreed upon concerning Fulcinelli.
One, he was definitely a mind to be reckoned with, and two, he was a true enigma.
What seems to have happened is that Fulcinelli's student, a young occult upstart named Eugene Cancillier, offered the publisher the manuscript of The Mystery of the Cathedrals, or in French, Les Mystères des Cathédrales.
Schmitt bought it, and Canfellier wrote a preface for the book in which he stated that the author, his master Fulcinelli, had departed this realm.
What he meant by realm, no one really knows.
He then goes on to thank Julian Champagne, the man whom Schmitt thought was Fulcinelli, for the illustration.
Champagne, a minor symbolist artist and inventor far into an absent-fueled decline, had gathered around him a small entourage, including Hans Sillier.
The talk always centered around alchemy, when they met in the small cafés of the Montmartre.
Champagne lives nearby, in the Rue de Rochechouart, and his sixth-floor room in the crumbling Parisian tenement was often the scene of late-night symposiums on all sorts of occult subjects.
Now, in this country, when I say occult, many people shiver and sort of cross their arms across their chest in fear.
Occult simply means secret or hidden.
That has no connotation of evil, unless, of course, it's used in an evil manner.
It is simply hidden information.
To his young friends, he must have seemed like a ghost from another age, with his unfashionably
long hair, his riddles, his mustache, and most of all, his claim to know the secrets
At the time, no one else but Schmitt seemed to believe that Julian Champagne was Concilier's master, Fulcinelli.
His taste for great quantities of Pernod and absinthe indicated a man too dissipated to be as knowledgeable and erudite as the author of Cathedrals.
However, he certainly did know a real alchemist.
And his illustrations show that he indeed had a profound understanding of the alchemical art.
No doubt about it whatsoever.
So we are left with the unsolvable mystery of the missing master alchemist, a man who does not seem to exist, and yet is recreated constantly in the imagination of every seeker who treads the path.
A perfect foil for projection.
We might even think, with all jokes, some kind of massive elaborate hoax.
Except for the material itself.
When one turns to mystery of the cathedrals, he finds a witty intelligence who seems quite sure of the nature and importance of his information.
This Fulcinelli knows something.
and is trying to communicate his knowledge, of this there can be no doubt.
Fulcanelli's main point, the key to unraveling the mystery, lies in an understanding of what he calls the phonetic law of the spoken Kabbalah, or the language of the birds.
This punning, multi-lingual wordplay can be used to reveal unusual and, according to Fulcinelli,
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.
.
Paul Canelli writes, he claims that in our day this is the natural language of the outsiders, the outlaws and heretics at the fringes of society and a secret communication method used by the adepts of all of the mysteries.
Now I'm going to depart from Fulcinelli for just a few seconds, and I'm going to read you a quote from St.
John, chapter 1, verse 1 of the King James Bible.
St.
John, chapter 1, verse 1.
In the beginning was the Word, and the Word was with God, and the Word was God.
There's more to language than most of you would ever even want to believe.
This language of the birds was also called the Green Language of the Freemasons.
All the initiates expressed themselves intent Fulcinelli reminds us, who built the art gothic 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 related to the Sufi text by Atar, the chemist, entitled The Conference of the Birds.
In Détassé's French translation of this work, which Fulcinelli references, the conference of the title is translated as language.
Détassé goes on to explain the complex linguist metaphor beneath the simple fable And Falconelli uses the same method to decode the alchemical meaning of the cathedrals.
Falconelli also claims that Rayvali, Gargantua, and Pandagruel is a novel enchantment that is written in the secret language You've heard me discuss this before on many, many broadcasts.
The Secret Language, The Lost Word of Freemasonry.
You don't really see it.
Offhandedly, he throws in Tiresias, the Greek seer who reveals to mortals the secrets of Olympus.
Tiresias was taught the language of the birds by Athena.
the Goddess of Wisdom.
Just as casually, Fulcinelli mentions the similarity between Gothic and Goetic, suggesting that Gothic art is a magic art.
From this we see that Fulcinelli's message that there is a secret in the cathedrals, and that this secret was placed there by a group of initiates Of which Fulcinelli is obviously one.
Depends upon an abundance of imagery and association which overpowers the intellect, lulling one into an intuitive state of acceptance.
Fulcinelli, like Shakespeare, overwhelms the reader with his brilliance.
It is so difficult to accept this man as anything but an incredible intelligence.
I read The Mystery of the Cathedrals years ago.
I recommend that you find the English version, buy it, read it.
Be prepared to be overwhelmed, confounded, amazed and gleeful all at the same time.
The offer, once again, is simply full cannelli.
And even after careful reading of The Mystery of the Cathedrals, I found that the mystery
of the cathedrals is never really explained.
One assumes to be the basic mystery of alchemy is only glancingly delineated.
You see glimpses here and glimpses there and shadows play across the mind.
It's great fun.
There are illusions that escape the reader as easily as a mosquito glimpsed out of the corner of your eye.
At moments, a glimpse of a great truth flips by, giving a hint of something absolutely incredible.
And then, just like the mosquito, it's gone.
Cathedral feels more like a Japanese haiku poem, actually.
One that is ephemeral and fleeting.
Some people reading the Mystery of the Cathedrals become very frustrated.
They start over, reading even more carefully, following the illusions and associations, trying to find and pin down the core of meaning that one senses is there somewhere, and it is there.
But remember, you are the propane seeing the exoteric meaning of an esoteric secret language
in which Falconelli is explaining one of the great mysteries of the occult sciences, and you
just don't get it.
And all of this makes Falconelli a great mystic.
almost perfect surrealist text. Those of you who are enamored by surrealism, love surrealist
art, like to read surrealist books, will love The Mystery of the Cathedrals.
It's a modern alchemical version of Long Tramont's Chants of Malodore, the surrealist's favorite
19th century novel. Falconelli's use of punny wordplay to convey spiritual meaning would
have absolutely delighted the surrealists, and if there are any listening, it will delight
you also.
Rabeleisen understood this kind of linguistic alchemy in terms of the correspondences and connections between objects or ideas on different levels or scales of being.
The classic example of this being Longtermont's sudden juxtaposition on a dissecting table of a sewing machine and an umbrella.
And yet, even though Fulcinelli's basic idea and operational and linguistic alchemy used by sages or Hermetic philosophers to transform reality become part of Surrealism's intellectual currency, none of the Surrealists mention Fulcinelli, our mystery of the cathedrals.
Once again, he is occluded.
Only Max Ernst makes any allusion to Fulcinelli.
in BEYOND PAINTING, published in 1936.
I also recommend that you read that book, BEYOND PAINTING, 1936.
However, ladies and gentlemen, by the late 1940s, the work of the movement's founder, André Breton, in both his book, Arcana 17, and the catalog for the 1947 Surrealist Exhibition, appears to have been heavily influenced by Paul Keneally.
So, I'm going to play a little bit of it.
Some say love, it is a river that shrouds the tender breeze.
Some say love, it is a razor that leads your soul to glee.
Something love, it is a razor That leaves your soul to bleed
Something love, it is a hunger An endless aching need
I say love, it is a power And you, it's all we need
It's a heart afraid of breaking That never turns to death
It's a dream afraid of waking That never takes a chance
It's a world we'll be taking You get what you deserve
There's nothing to do.
And I'm so afraid of flying.
Desire that never runs free And from now on I'll take the lonely path and go
There's too long, can't you see That love is lonely for the lucky and the strong
Don't remember in winter far beneath the bitter snow Tied to sea, that with the sun love in spring becomes rose
Surrealism and 1948 are...
I should say 1947.
That was the year of the catalogue.
Surrealism in 1947.
In fact, that's the name of the catalogue.
The Surrealist Exhibition catalogue is full of seemingly Fulcinelli-inspired articles such as Liberty of Language by Arpad Mezai.
And this article explains the occult dialectic through linguistics.
Let me say that again.
In this article he explains the occult dialectic through linguistics.
If you don't know what dialectic means, you had better look it up.
Mizrahi goes on to announce that language is really an ensemble of symbols, and this conception of language is not far off that which existed in magical civilizations, because the interchangeability of reality and language is the base and the principal key of all hermetic activity.
And if you've been paying attention lately in this country, you can see how it can be in the alchemical process to bring about a transformation or a transmutation in the minds of what the socialists call the masses.
You see, what I'm really talking about here, and not even mentioning, but everyone listening who is well versed in the history of the occult, Knows that just below the surface of what I am giving you lies a stream.
A stream of knowledge is flowing from my lips through this microphone into the ears of those who understand.
Those who can hear.
Everyone else doesn't hear the true message at all.
They're listening to an entirely different story.
Underneath all that I am telling you in this history is the manipulation of the secret order called the Fama Fraternitis Rosae Crusae, or the Rose and Cross.
an order that is still very much active today, and still practicing alchemy, occult dialectic through linguistics, an ensemble of symbols, the key The principal key of all hermetic activity.
As if to make the point even more pointed, our Padmé Zai and Marcel Jeanne contributed an article in the occult meaning of the Surrealist's favorite novel, The Chants of Mount Aurore.
Their analysis of this novel could be applied just as fruitfully to the Mystery des Cathédrales.
Following Mazzei and Jeanne's advice by working backwards—listen to me carefully—by working backwards is a good road map for navigating Fulcinelli.
André Breton himself contributed a chart to the Catalogue for Surrealism in 1947 showing personalities and their associations with the images of the table cards, a continuation of the ideas that he had begun in his earlier work, Arcana 17.
And ladies and gentlemen, while the tarot is not an obvious connection with Fulcinelli and the mystery of the cathedrals, as we will soon see, Breton's use of the tarot as alchemical metaphors suggests that he had read Fulcinelli even closer than most, because he at least understood some of the underlying message of the book.
Ten years later, in 1957, Breton wrote The Art of Magic, in which he insists that magic is an innate capacity of all humanity which can never be long suppressed or controlled.
And with that admission, Surrealism takes its place alongside the literary works of Joyce, Lovecraft and Borges as an important twentieth-century artistic addition to the Western occult tradition.
It would seem that Fulcinelli contributed to that artistic evolution, except the conspicuous absence of direct reference argues against it.
Nowhere is he mentioned as a source, and yet his work was the only known published work
of its kind in existence from which that information could have come.
Fulcanelli's ideas seemed to be present in Surrealism from its inception, growing more
prominent as the movement matured.
Possibly one answer lies in the anonymity of Fulcinelli himself, since Fulcinelli, we believe, is a pseudonym.
The Surrealist may have absorbed his ideas from a common source, who may have been the real person behind the name.
Now, that's a very interesting proposition.
Yet, even that idea fails to explain the curious reluctance of anyone—surrealist, art historian, alchemical scholar, anyone—to address the meaning of Fulcinelli's And once again, this conspicuous absence is very suggestive.
Even the great American occult historian, Manly P. Hall, whom I have quoted from extensively, completely fails to mention Paul Kennelly anywhere in any of his work.
Why?
The silence suggests a secret The mystery of the cathedrals is the secret of alchemy in the sense that alchemy is an ancient, initiatory science.
Fulcanelli selected his materials carefully to convey in the clearest and most direct manner possible that he did indeed know, he did indeed know the secret.
has been made by the few occultists who have looked into Fulcinelli and his work about the difficulty of his writing.
Threading a path through Fulcinelli's minefield of classical illusions is daunting to all but those who enjoy sampling ancient wisdom for its own sake.
Without a key, without the knowledge, the text remains, reading after reading for most incomprehensible.
However, as in the sushi story, the greatest treasure is hidden in plain sight, as I have told you repeatedly over and over on this broadcast.
Fulcanelli slyly directs us with his comments on goetic or magic art.
The magic, the secret, is in the art.
He tells you, and yet you don't see it.
It's like the old story of St.
George slaying the dragon.
All allegorical, all metaphor.
And everybody grows up and goes through life thinking, St.
George really slew a fire-breathing dragon, this big great giant dinosaur lizard.
Killed him with his sword, his lance.
And that's not what the story was about at all.
The dragon represented The demonic nature, the animalistic desires, cravings and temptations of the base metal, of the baseness in man.
When Saint George slew the dragon, he slew the evil within himself.
He committed an alchemical act, changed the lead into gold.
Why is it a fire-breathing dragon?
.
Remember, this is a saint of the Catholic Church.
The suppressed knowledge created the Dark Ages for hundreds of years.
The Dark Ages was the suppression of knowledge.
The suppression of freedom.
The demand for conformity upon pain of torture and death or burning at the stake.
The fire represented knowledge.
How do you get knowledge of the base nature?
You get it through experience.
The knowledge you must first eat of the fruit of the tree of knowledge of good and evil.
Are you beginning to understand what I'm trying to impart to you?
That most people live, read, breathe, world that does not exist, where all around them the truth
is displayed brazenly for all to see, but most never ever see.
The greatest treasure is hidden in plain sight.
Paul Connelly slyly directs us with his comments on goetic, or magic art.
The magic, the secret, is in the art.
What did I tell you about magic and past broadcasts?
It is simply the art of illusion.
Oh, I can see people out there looking at each other.
What'd he say?
What'd he say?
Don't worry, it will sink in.
You will receive the fire.
It may burn your hands, but you're going to get it sooner or later.
Like a message In a bottle from the last initiate, the mystery at the core of alchemy surfaced in 1926 when J. Schmitt and Company released its limited edition of Le Mystere des Cathedrals by an author who called himself simply Fulcinelli.
Although apparently well-known, at least by refutation to his contemporaries, Fulcinelli's true identity remains uncertain to this day.
What is certain is that Le Mystere des Cathédrales created a sensation
among the Parisian occult community, and it began to work its magic affecting politics, science,
and even art.
Whatever being sourced, with no recognition, with only 300 copies in print.
That is a phenomenon that cannot be overlooked because it is on a magnitude of such great
importance if it had that much influence.
From our modern perspective, so fitted on this age of wonders,
It is hard to see why, from the book itself, Les Mysteries is full of arcane scholarship and obscure erudition, making it hard to follow the book's symbolic train of thought.
In some occult circles, this increased its appeal.
However, the basic premise of the book—that Gothic cathedrals contain hermetic books in stone—was an old-fashioned idea going back to the nineteenth-century Romantics.
Such as Victor Hugo.
How many of you read The Hunchback of Notre Dame?
Get it.
Read it again.
And if you don't see what I'm talking about, read it once more.
We will continue this, ladies and gentlemen, tomorrow night.
Because we are not finished with the mystery A Fulcinelli.
Not finished at all.
And for those of you who want to get a jump on everybody else, tonight's broadcast was taken from my own research and from a book called Monument to the End of Time, Alchemy, Fulcinelli, and the Great Cross, The Cross at Hynde, by Jay Weidner and Vincent Bridges.
I suggest you buy this book.
When you read it, however, As all esoteric texts, it is meant to convey a message, an esoteric secret message to those who know how to decipher it.
It is full of traps, false information for the profane and for the ignorant.
And you could go away from this book with the wrong message.
Remember that.
But nevertheless, buy it and read it.
It contains a message worth deciphering if You have the mind to do it.
Good night.
God bless each and every single one of you.
Good night.
I love you so very, very much.
Remember, just beneath the surface of all of this is...
you Some say love is a river that drowns the tangerine.
Some say love is a raker that needs your soul.
Some say love is a hunger An endless pain I say love is a flower And you, it's only fear.
It's the heart that hears the breaking, but never knows the time.
It's the dream afraid of waking, that never takes a chance.
It's the one who won't be taken, who cannot be given.
I'm not so afraid of dying Who never learns to live
When your mind is just lonely And the road has been too long
When you think that love is only for the lucky And for the strong
Just remember In the winter, far beneath the river's flow
I see that with the sun's light In the spring he comes for all
And the night is bitterly lonely And the water's bitterly cold
When you see that love is finally coming for the living, then you'll know that you're not alone.
I'm gonna live with you, yeah, I'm gonna live with you, yeah.
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