“Seth material” search engine (Jane Roberts)

There are several issues and avenues of development in the Sumari experience. It will unfold, therefore. The statement is, comparatively speaking, a simple one, so that we can see what Ruburt can do with it.

(I had no idea of the script’s contents when I wrote it out on impulse. It consists of three pages of rather closely spaced lettering with numbers incorporated in a few of the paragraphs, a couple of diagrams and a symmetrical symbol representing a mandala. Jane tried several times to get something on it, without success, then abruptly on January 3 it began to open up to her. As of this writing she is working on the last page. It is most interesting. A copy will be added to this session, hopefully, if I can remember to do so after having it duplicated.)

(“Do you want to spell that out?”

(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.

I will be here to see that this is put to practical use also, translated into terms that can be understood, and provide a firm basis from which you can further explore the nature of such ancient perceptions. Again, the two of you are well-suited for this endeavor. Your interest in painting and your abilities do not only spring from the Denmark life, for example, but also arose out of your quite legitimate life as Nebene, when you were focused upon the visual symbols and their correct inscription. The slightest error in copying a symbol could change its meaning completely, hence your concern over details, and hence now your great trust in objective painting, and your occasional distrust of work that seems to come too easily.

The symbols were representations of reality. To alter them through carelessness seemed almost a sacrilege, a betrayal of truth. In that regard you saw yourself as the guardian of truth. Visually you were able to pick up the present version of the Sumari statement. Do you follow me?

You were, as Nebene, extremely stern with your students, concerned that they not fall into carelessness. You were focused upon the transmission of knowledge. In the Denmark life the love of the visual was still with you, but you were trying to allow yourself greater freedom with it, to feel the freedom of adding to what you saw, but you felt a great reluctance to do so. It is for that reason that you gave up painting in that life.

As time permits continue to discuss your plans together, both the trip and its details, and what you will do on your return. Your own relationship is excellent now, and the exercises will help in giving him greater physical spontaneity in your more intimate life.

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.