“Seth material” search engine (Jane Roberts)

(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.)

Corrections will be made if necessary when he is finished. In time the Sumari language will be replaced, you see, by symbols, hopefully fairly faithful representations of symbols used in some ancient manuscripts. The information obviously precedes [the] manuscripts.

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?

(9:50.) The memory of the old symbols is within you, but not until you were free enough to make them your own could they return. You did help transmit the information also in highly stylized drawings, and to a much lesser extent through highly stylized voice patterns that were taught to students.

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.

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.