“Seth material” search engine (Jane Roberts)

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.

Instead the relationship between objects will be stressed through sound. The emphasis will be on an object’s “placement,” (in quotes) in title and space as you think of it, and on the ever-changing pattern of force that constantly alter relationships of any kind.

(9:39.) There will be words for example for feelings that you will be asked to imaginatively change into objects and back again, to project into time as you think of it, and sense the differences in the feeling’s relationship to yourself. This can be compared in quite other terms to taking an object from one table and placing it in another room, and trying it out in various locations; but we will be working instead with feelings instead of vases, and psychological locations.

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.)

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.

Their discipline and rigidity is considerable. Once you think of a “tree” (in quotes) as a tree, it takes great effort before you can see it freshly ever again, as a living individual entity. Cordellas do not have the same rigidity. Far greater, immensely greater fluidity operates. Inner invisible relationships are allowed to rise, the acknowledged recognized reality viewed through the lenses of these emerging relationships. Then the cordella changes its nature, becomes another new emerging group of relationships, another lens in other words. Do you follow the connections?

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 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.

(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.