“Seth material” search engine (Jane Roberts)

(“Well, I think it’s going to be a short session,” she finally laughed. “I feel restless — like going for a walk in the snow or something….” But the session hardly proved to be a short one. In connection with the practice element that Seth gives below, plus the following two paragraphs of related information, I’d like the reader to refer to chapters 7 and 8 in Jane’s Adventures in Consciousness. In them she discussed the development of her Sumari “language.”

(11:18.) Ruburt has been involved with what he calls the Sumari language (as referred to in the notes at break). This is an expression of the consciousness at a different focus. It is the native expression of a kind of experience that happens just outside of your official one-line focus of consciousness. First of all, it breaks up verbal patterning.⁹ It is composed, however, of sounds and syllables Ruburt has heard before, made up of jumbled Romance languages.¹⁰ These are “foreign” as far as he is concerned. At the same time those sounds are, in your terms, filled with the implications of antiquity, and bring up connotations of the species’ and of the psyche’s past.

(Pause.) They alter the usual physical response to meaningful sound. You may not realize it, but your language actually structures your visual perception of objects. Sumari breaks down the usual patterning, therefore, but it also releases the nervous system from its structured response to any particular stimulus. The sounds, however, while spontaneous, are not unstructured. They will present a sound equivalent of the emotion or object perceived, an equivalent that is very direct and immediate, and that bears legitimate correspondence with the object or emotion.

The fresh expression sets up a new kind of relationship between the so-called perceiver and the perceived. The Sumari then becomes a bridge between two different kinds of consciousness; and returning to his usual state, Ruburt can translate from the Sumari to English.

The English itself, however, then becomes charged, freshened with new concepts, carrying within a strangeness that itself alters the relationship of the words. This is a dream or trance language. It is as native to its level of consciousness as English is to your own — or Indian, or Chinese, or whatever. The various focuses of consciousness will have their own “languages.” Ruburt has discovered that beneath the Sumari there are deeper meanings.¹¹ He has become aware of what he calls long and short sounds. Some come so quickly that he cannot keep track, or speak them quickly enough. Others are so slow that he feels a sentence would take a week to utter.¹² These are the signatures of different focuses of consciousness as they are transposed in your space-time system.

9. Jane first came through with Sumari in her ESP class for November 23, 1971. Seth then devoted portions of the next five sessions to that development. From the 600th for December 13: “Each symbol in an alphabet stands for unutterable symbols beneath it … Sound itself, even without recognizable words, carries meaning. Oddly enough, sometimes the given meaning of the word does battle with the psychic and physical meaning of the sounds that compose it … The [Sumari] word ‘shambalina’ 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.” And from the 602nd for January 5, 1972: “In your language there are words that sound like the reality they try to represent. These are called ‘onomatopoeia’ [in English]. ‘Hush’ is an example….”

11. In Chapter 8 of Adventures, Jane used her Sumari poem, Song of the Pear Tree, to present some examples of such layered, or deeper, meanings. In one instance she first translated the Sumari line, “Le lo terume,” into “The pear tree stands.” Later she came to understand that a more literal — and evocative — meaning is “Earth grows itself into a tree and becomes standing-earth-with-pear-faces.”