“Seth material” search engine (Jane Roberts)

(These feelings involved unexpressed emotions stemming from several years ago, on Jane’s part. When she became aware of them, she got a pain in a leg, but a little later did tell me about them.)

You want to do anything with the emotions but feel them. Write about them, paint them, talk about them, anything but feel them. Do you see the difference now?

This operates as strongly for you as Ruburt. You have seen him in a very few honest expressions of anger, once when he tried to throw a chair, and felt the suddenly released energy that he usually does not channel physically. That same unexpressed energy is present within you, but it must be felt first, and acknowledged. If you have questions ask them. Now. I mentioned, and you realize the significance of Ruburt turning down the radio when you enter the room. He tried to turn his emotions down in the same way. He felt you equated noise, period, with emotional behavior.

(9:36. Jane’s trance had been good. She said, regarding her leg pain, that when she got it just before the session she felt like crying, but didn’t want to interrupt the session. She was afraid I’d be bothered, also.

This is but one method. (Pause.) In following this particular line of development, Ruburt for example will be taught to free inner cognition from the recognized verbal patterns enough so that any future work with speakers manuscripts will not be stereotyped out of all proportion. A recognizable verbal pattern must of course result, but use of the language itself will break up these personal associative processes that cling to recognized language symbols.

Therefore clear perception of inner data can freely use the whole structure of your own language for its flow if need be, but the stereotyped patterns will be broken.

It was montella. (My phonetic interpretation.) Montellas are the end products of cordellas, arranged not only in a certain fashion, but congregated or placed within a certain rich sphere of dyniad activity.

Think in terms of impressionism and its values, then switch to the idea of a Sumari language and see the connection, and the purposes that can be served. The language is fluid. All of the words need not be defined, though key ones will be. It will be used as a method of expanding your concepts, not of teaching you to translate experience into just another but different stereotyped form that happens to be more exclusive.

Now our sessions have always involved methods of perception, and the translation of inner experience. The sessions themselves deal with experiences that are basically not verbal but must be physically translated. Translations go on of which you are not aware whether or not you perceive them, and whether or not you are affected. They are simply the results of such activity intruding into a physical montella.

(“I think so. I just want a chance to think about it.” Actually I did see, but still wanted time to think.)