“Seth material” search engine (Jane Roberts)

Consider again, for the sake of analogy, the Sumari language as compared to impressionism. At its best (underlined) impressionism achieved a certain focus unknown to Western art up to that time, in your terms, offering a breakthrough from cohesive objective form into the moving vitality that gives objects, say, their durability and shapes their images.

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. In your terms the Sumari language is not a language, since it was not spoken verbally by any particular group of people living in your history.

The living vitality of a cordella rises out of the universe’s need to express and understand itself, to form in ever-changing patterns and take itself by surprise. Patterned language allows for no such surprises. The Sumari language has been used in the dream state.