“Seth material” search engine (Jane Roberts)

I said before that early man felt a certain emotional magnification, that he felt, for example, the wind’s voice as his own. In a manner of speaking your languages, while expressing your individual intents and communications, also represent a kind of amplification arising from your molecular configurations. The wind makes certain sounds that are dependent upon the characteristics of the earth. The breath makes certain sounds that are dependent upon the characteristics of the body. There is a connection between alphabets and the molecular structure that composes your tissue. Alphabets then are natural keys also. Such natural keys have a molecular history. You form these keys into certain sound patterns that have particular meanings.

Certain sounds are verbal replicas of molecular constructions, put together by you to form sentences in the same way, for example, that molecules are put together to form cells and tissue.

(Long pause at 11:26.) There are “inner sounds” that act like layers between tissues, that “coat” molecules, and these serve as a basis for exterior sound principles. These are also connected to rhythms in the body itself.

(11:33.) Its meaning comes from the pauses between the sounds as much as it does from the sounds themselves. The flow of breath is obviously important, regulating the rhythm and the spacing of the words. The breath’s integrity arises directly from the proper give-and-take between cells, the functioning of the tissues; and all that is the expression of molecular competence. That competence is obviously responsible for language, but beyond that it is intimately connected with the patterns of languages themselves, the construction of syntax, and even with the figures of speech used.