“Seth material” search engine (Jane Roberts)

At its poorest, communication between the viewer and the painting was lost, for a poor artist could not work that magic with lines or colors. A thorough knowledge of form was needed so that it could be represented by line or color. At its best, impressionistic art by its very lack of indelible, delineated form, suggested all form and the vitality that gave it force.

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.

Shambalina garapharti (spelled), or the changing faces of the soul, smile and laugh at each other. Now all of that is in one phrase. By saying the words and opening your perception the meaning becomes clear in a way that cannot be stated in verbal terms, using your recognizable but rigid language pattern; so we will be dealing then with concepts as well as feelings, but seeking them through the use of a new method, and sometimes translating them back and forth for practice.

(“Not too well, because I was busy writing. I think I understand what you mean. I have it all down all right.”

(10:35. Jane’s trance had been good, her pace mostly fast. She said she had felt Seth trying to get some “new concepts” across—trying very hard to make it clear to us. I said it was clear enough, but that I was so busy writing that eventually I lost all sense of the meaning of the words. Jane also had images, but Seth never vocalized what they meant. She knew they applied to cordellas and paintings.

(We talked it over. Jane had visualized a painting of houses and trees. She said Seth had considered that an artist could do, say, five paintings; each with different symbols but all with the same basic meaning. Resume in the same manner at 10:55.)

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.)

The language itself seeks out meanings. It is hidden within all languages, whether or not they sound at all similar, for it is based upon the immaculate integrity of feeling, for which sound is only a dim representation.

(11:11.) As basic creativeness is behind all art forms, so cordellas are behind and within alphabets. Cordellas represent the ever-changing unfinished relationships that can never be fully expressed, and that constantly seek expression.

Through this session and the last I have tried to show you through some examples the different ways in which the word cordella can be used, and by inference the ways in which the use of this method will enrich your understanding and perception. Your closer relationship will have its effects upon our sessions also, for your energies are at peace (louder:)—and now I bid you a fond good evening, cordella and all.