“Seth material” search engine (Jane Roberts)

(“And I am Sumari in another guise. [...] I am Sumari in another guise. [...] We are all Sumari. [...] But we are all Sumari, and if you are all Sumari, and never forget that you are all Sumari, and you have always been Sumari. [...]

[...] I am Sumari, you are Sumari.”

“Sumari

[...] I explained my second question to her now, to save time: Is what Jane gets a literal translation of what I write in Sumari, or does my Sumari act just as an impetus for her to get her version of it, etc.? [...]

(A note: this afternoon Jane began translating the long letter I wrote her in Sumari on December 31, 1971. [...]

[...] I told Jane I wasn’t asking that Seth go into these this evening; I preferred that he talk about Jane or the Sumari work. [...]

[...] They are most like the Sumari. [...] They will usually seek fairly stable political situations in which to bear their children, as the Sumari will to produce their art. They demand a certain amount of freedom for their children, however, and while they are not political activists, like the Sumari their ideas often spring to prominence before large social changes, and help initiate them. The one big difference is that the Sumari deal primarily with creativity and the arts, and often subordinate family life (as Jane and I have done), while this family thinks of offspring in the terms of living art; everything else is subordinated to that “ideal.”

Except for the Sumari, which Jane and I choose to be allied with, there’s much we don’t know about the families of consciousness; the material is all so new. Yet my observation can even apply to aspects of our relationship with the Sumari. For instance, were any of our now-deceased parents Sumari? And regardless of whatever family each of those four people had belonged to, how had their individual family predilections affected their Sumari children? [...]

[...] Actually, for whatever reasons, Sue had glimpsed a family other than Sumari before Jane had. [...] Sue had picked up on the Grunaargh¹ during the 598th session, which she’d recorded for me the evening after Jane had made the whole Sumari breakthrough in class, on November 23, 1971.

During ESP Class the Sumari, through Jane, told Florence to go look out the middle window, and Sue to look at the door which they did. [...] Then Sue got the following as a concept in both Sumari and English at once. [...]

The Sumari language is a bridge, and valid in those terms. [...]

The Sumari language is a language then in those terms, a method of communication. [...]

[...] The Sumari language in those terms will be used as a method of carrying you further into the nature of inner cognizance, and then allowing you to return again, retranslating what you have learned, not automatically into the stereotyped verbal pattern.

[...] The Sumari then becomes a bridge between two different kinds of consciousness; and returning to his usual state, Ruburt can translate from the Sumari to English.

9. Jane first came through with Sumari in her ESP class for November 23, 1971. [...] Oddly enough, sometimes the given meaning of the word does battle with the psychic and physical meaning of the sounds that compose it … The [Sumari] word ‘shambalina’ connotes the changing faces that the inner self adopts through its various experiences. [...]

11. In Chapter 8 of Adventures, Jane used her Sumari poem, Song of the Pear Tree, to present some examples of such layered, or deeper, meanings. In one instance she first translated the Sumari line, “Le lo terume,” into “The pear tree stands.” [...]

7. In Volume 1 of “Unknown” Reality, see the Sumari material and references in Appendix 9, and notes 2 and 3. In Volume 2, Seth discussed the Sumari language at 11:18 in the 723rd session; also see notes 9 and 11.

10. Jane initiated the Sumari development on her own, in the ESP class for November 23, 1971. [...] During one delivery he remarked somewhat humorously that the Sumari “want someone else to take care of what they have created …”, that “they don’t hang around to cut the grass….” [...]

Most of the people who come to Ruburt’s classes are Sumari,⁷ for example. [...]

(Yesterday Jane began writing a rather long poem, in Sumari, that she calls The Song of the Silver Brothers. [...] As the work progressed she found herself actually writing two poems together, for after each verse of Sumari she did its English counterpart. Usually she doesn’t attempt to translate a work in Sumari until some time later. [...]

[...] “I’m getting it so fast mentally, in Sumari, that I don’t have time to write it down — let alone do it in English — before I go into the next concept….

Consider again, for the sake of analogy, the Sumari language as compared to impressionism. [...]

Now the Sumari language will avoid specific, indelible, rigid pattern in much the same way. [...]

[...] There is a structure within the Sumari language, but it is not one based upon logic. [...]

Cyprus was correct, and in the terms used Sumari physicians then are aiding in Ruburt’s recovery. [...]

[...] The existence of Sumari physicians will make sense when we finish our discussion of inward orders of reality and the dream state.

(I told Jane at break that I needed a capsule definition of Sumari, and she said that last night in ESP class Seth had commented, that the Sumari was a “federation of consciousness.” [...]

You have always been Sumari. [...] The word Sumari characterizes a certain kind of consciousness simply for means of identification in your terms.

[...] The recent Sumari developments involving both of us played a part. [...]

[...] The Sumari development would not have occurred until your relationship had a revival, and further creative developments have already been sparked for the same reason.

(This was Jane’s inspiration to write a series of songs for me in Sumari. [...]

[...] You also did not attend until the Sumari development.

[...] At midnight she sang a short song to me in Sumari. [...] She uses real power in Sumari at times, then contrasts it with very delicate passages. [...]

(Jane discusses Sumari in her Introduction to this book. She’s included a selection of Sumari prose and poetry in the Appendix of her novel, The Education of Oversoul 7, which Prentice-Hall is to publish this fall.)

[...] “Why, that’s where Sumari came from. [...] In here she sang some Sumari songs. [...] In between the songs she spoke to me in Sumari. [...]

[...] She’s also been very active in her ESP class this month, with extensive singing in Sumari — which is her own musical trance language¹ — and with long sessions via Seth in each class; the transcripts of some of the latter have run to five or six single-spaced typewritten pages. [...]

1. Much Sumari material can be found in Chapter 7 of Jane’s Adventures, and in the Appendix of her novel, The Education of Oversoul Seven.

(Adding to the 11:05 note on sound: The 1971-72 sessions mentioned there also contained much about the inner meanings of sound and Jane’s development and use of Sumari — and once again I refer the reader to her Introduction. As Seth told us, “Sumari effectively blocks the automatic translation of inner experience into everyday verbal stereotypes.” [...]

(As with Sumari, we expect that references to the Speakers will be included in this book from time to time. [...]

[...] I included a few lines of Sumari at the end of it; Jane hasn’t translated these yet.

[...] You see me in the poetry, the psychic developments, and Sumari, but I have been forced to follow certain lines, as you suspected, despite my nature. [...]

(While I was typing up this material on February 25, Jane got the translation of the Sumari I wrote her at the end of the statement of February 24. [...]

[...] It seemed to involve the Sumari family of consciousness, she wrote.

The next, psychic family dream represented an actual reunion of some Sumari family members, so that Ruburt would not feel so alone, but realize he did indeed have rich emotional connections with others, at other levels, and that he was part of a family of creative initiators, full of energy and vigor, who could go out into the world or cheerfully forget it if they chose.

[...] At 11:30 she went back into the Sumari trance and delivered the balance of the poem. It isn’t included here since she has made her own copies for her Sumari notebook, of this one and the three poems that subsequently followed. [...]

(At 8:52 I wrote the following in Sumari as we sat waiting for the session:

(At 11:25 PM I showed her the Sumari verse I had written before the session, and requested a translation. [...]

The Sumari abilities are highly creative ones, however. [...] I have been speaking of them here so that each individual can learn to recognize his or her own degree of Sumariness. [...]

(Pause.) If you are a “reformer,” a “reformer by nature,” then the Sumari characteristics, brought to the surface, could help you temper your seriousness with play and humor, and actually assist you in achieving your reforms far easier than otherwise. [...] The creative aspects of the Sumari can be particularly useful if those aspects are encouraged in any personality, simply because their inventive nature throws light on all elements of experience.

The Sumari characteristics do not exist in isolation, of course. [...]