“Seth material” search engine (Jane Roberts)

Sounds obviously existed before language. There is a pattern of sound beneath all languages, a bed of vocal communication that lies behind all language and alphabet. The vocal sounds of the Sumari language and characteristics as they are presently apparent to you will, hopefully, lead toward these clearly understood but logically unstructured sounds that are recognized by the organism and by the inner self, but ignored by the reasoning conscious mind that focuses upon the logical language.

(Leaning forward humorously, eyes wide:) I cannot spell it. There are some (in quotes) “defects” of Ruburt’s that are even hard for me to surmount, and in this particular case for a special reason. Just add the note, as I do not want to get off the subject. The word, onomatopoeia (there is a chance the first letter should be A instead of O) comes closest to explaining the inner nature of such sounds.

In your language there are words that sound like the reality they try to represent. These are called onomatopoeia. Hush is an example, the word hush. It is understood as a quieting agent. When you say it correctly the breath is slowed and leaves your body: hush-sh-sh-sh the sounds finally seem to disappear.

The body’s feeling, the sound of the words, convey(s) the message. So independently of any language there are sounds that in themselves convey such messages, that act upon the physical system. Their utterance demands certain characteristic uses of breath. What is felt by the organism approximates the meaning of the sounds, and to some extent is the meaning of the sounds.

This is a vital basic method of communication, upon whose inner intuitive and organic structure all other languages are formed and based.

(9:35.) As a method of freeing you from stereotypes then, this is important. More than this, intuitive information can be given through this method that quite escapes the limitations of logically structured verbal pattern. Some of the Sumari speakers in the beginning transmitted inner information in precisely such a way, and hopefully at some time at least a few such versions may be picked up by Ruburt. So all of this is at the beginning stage.

You have a sense of rhythm, and more conventional musical knowledge than Ruburt, yet rhythmic patterns are very strongly in his makeup, and appeared earlier, silently so to speak in his poetry. The rhythm represented the smooth mobility of the emotions, the ever-moving quality. The sound represented by the symbols then will speak to him. He will hear and know them.

He is not as visually oriented as you, and it will be a while before the released sounds of the Sumari language will visually appear to him as symbols. Between the two of you then, you are fairly well-equipped for what we have in mind, and all of this must be translated back, you see, in language that you can understand.

The (yoga) exercises are important because they represent a physical commitment (for Jane). The resolution of his being is behind him now. He will stick to them. This is a physical statement of the inner change, and the inner change must be reflected physically of course: the intention to work with, not against the body, and to help encourage its natural spontaneity and functions.

Ruburt’s proficiency with rhythm and words and your proficiency with visual symbols will be put to use therefore. Again, your characteristics are admirably suited. You may be able to translate the verbalized sounds into pictures or into miniature pictures that later turn into symbols. There are various ways, in other words, open in which the information may finally be received.

Your physical reality does also exist in the media of sound, not as the end product of the world’s noises. But matter is again only one manifestation, one you happen to recognize, of reality. The world is built up in other terms of atoms and molecules.

The same applies however to light, for the atoms and molecules also exist as patterns of light that are unperceived by you. (Pause at 10:37.) Give us time here. At a certain point sound becomes visual, and light becomes sound. They are wedded then, but at other points the correlation is not at all obvious. It is always there. At one level sounds then can be theoretically perceived as light. Vowels and syllables exist as light as validly as they exist as sound.

Vowels and syllables build up their own kind of (in quotes) “light pattern,” or light picture, again, that you do not perceive. Light as you think of it then also exists as sound. There is no such thing as a sound barrier. It simply seems to you that there is.

Cordellas represent the inner cohesive yet free-wheeling quality operating within all reality, that gives it both its organizing structure and its great element of spontaneity. Cordellas are therefore connected with the EE units of which I have spoken.

Cordellas are the principles behind the units, or the principles upon which the units operate. Sound and light both result from the interaction of different kinds of cordellas. They sometimes merge and are perceived spontaneously and simultaneously by you. Sometimes they are perceived separately. The cordellas are operating substructures of energy, with the ability to attract and repel, to become cohesive or fall apart, carrying within themselves the knowledge of their own identity, literally the self principle that allows them to retain their integrity as absolutes even while merging with others and forming subsidiary alliances.

Then let me add that numbers, sound and light are of course all related and all versions of highly complicated cordellas. And I bid you a fond good evening. (Louder.