“Seth material” search engine (Jane Roberts)

(Pause at 9:27. This is the end of the deleted material. Now I present the restt of the session in its regular form.)

Now the Sumari language will avoid specific, indelible, rigid pattern in much the same way. (Pause.) By changing the names of objects you automatically look at them in a new fashion, yet certainly all objects will not be given names, for this would defeat our purpose.

(10:11. Pause.) As I have said often, language is used as often to distort as it is to clearly communicate. There is a structure within the Sumari language, but it is not one based upon logic. Some of its effectiveness has to do with the synchronization of its rhythms with bodily rhythm. The sounds themselves activate portions of the brain not usually used in any conscious manner. It is a disciplined language in that spontaneity has a far greater order than any you recognize.

Now give us a moment. (Pause at 10:16.)

The word shambalina (spelled by Seth at my request) connotes the changing faces that the inner self adopts through its various experiences. Now this is a word that hints of relationships for which you have no word. (Pause.)

(Long pause at 10:24.) Cordellas are invisible symbols that surface. As they surface they show the universe in a new light by the very nature of their relationships. In a very limited fashion alphabets do the same thing, for once you have accepted certain basic verbal symbols they impose their discipline even upon your thoughts, obviously since you think in words so often.

In quite different terms however it is a language that is at the base of all languages, and from which all languages spring in your terms. Alphabets do not change, or you would consider them relatively useless. Cordellas, as I told you, do change. Alphabets are the physical aspect of cordellas. One very small aspect of a cordella is sized upon and (in quotes) “frozen,” so to speak, its ordinary motion and the rhythm of its changes therefore unrecognized. (Long pause at 11 PM.)

It builds up from feelings that are by their nature denied clear expression through the specific but therefore limiting alphabet systems. (Pause at 11:06.) It allows the perceiver to face experience much more closely, and once having done this to some extent he is free in other areas also. If you were an accomplished artist in many fields, you could translate a given feeling into a painting. A poem, a musical masterpiece, a sculpture, a novel, an opera, into a great piece of architecture. You would be able to perceive and feel the experience with greater dimension, for your expression would not be limited to translating it automatically, without choice, into any one specific area. Its dimensions would be greater to you then. So a cordella as opposed to an alphabet opens up greater varieties of experience and expression.