Session 599

(SESSION 599 (DELETED PORTION)]

[DECEMBER 8, 1971]

(This material is deleted from the 599th session for December 8, 1971.)

Now. We will divide the session into two parts, although they may or may not be equal parts.

We may do this presently for some sessions. I am taking it for granted that you are both determined to clear the air and set yourselves to a new level of achievement and freedom. Therefore I will make whatever comments I can on your progress.

First of all, this evening's small chat: it was a beginning. You should freely encourage each other however to express feelings. Those mentioned tonight on Ruburt's part were "negative" ones precisely because they were so strongly inhibited. He tossed them out cautiously, watching for their effect upon you.

You reacted cautiously. It was like the beginning of a dance. When Ruburt got a real touch of inhibited feeling he automatically translated it to the leg, and only by a strong exertion of will managed to get the feeling behind the words out at all. Nor did you freely encourage him to do so.

(These feelings involved unexpressed emotions stemming from several years ago, on Jane's part. When she became aware of them, she got a pain in a leg, but a little later did tell me about them.)

He worried about the effect of such expressed feeling on you, and both of you intellectualized, as is often your wont. This does not mean that a series of crying jags, explosive ones, need be in order, as Ruburt fears, and fears that you fear.

(I wasn't concerned about that.)

They would be well worth the while, however. This is the kind of thing I have been speaking of---the avoidance of a direct confrontation with those (in quotes) "negative emotions" blocks out the one emotional (in quotes) "solution": an emotional statement on your part that counters it---a meeting of emotions.

The expressed (underlined) emotional anger, accusation or hurt on Ruburt's part would automatically, or should, bring out in you an answering emotional statement. Answering in that any hurts or reasons on your part would be expressed with feeling, and the way cleared for an emotional statement of love, regret, or on both of your parts an emotional expression of sorrow for having hurt the other.

Instead you get to the point where the emotion barely surfaces and you say "Oh, yes, that came from such and such." This applies now to both of you. Now you both handled emotional situations involving you both more or less in the same manner. You still do not want to feel and counter the emotions on their level.

This clears the emotions, the spirit and the mind as well as the body.

This is what I meant by not moving each other to tears or laughter. By this small encounter this evening you showed your willingness to roceed, and also clearly showed how little you understood about what I really meant.

You want to do anything with the emotions but feel them. Write about them, paint them, talk about them, anything but feel them. Do you see the difference now?

(Yes.)

I want to get around your basic fears that emotional freedom is automatically the feeling of negative emotions, though you may initially begin there. Arguments between you for example would have been far healthier. Then you could have kissed and made up, and meant it.

This operates as strongly for you as Ruburt. You have seen him in a very few honest expressions of anger, once when he tried to throw a chair, and felt the suddenly released energy that he usually does not channel hysically. That same unexpressed energy is present within you, but it must be felt first, and acknowledged. If you have questions ask them.

Now. I mentioned, and you realize the significance of Ruburt turning down the radio when you enter the room. He tried to turn his emotions down in the same way. He felt you equated noise, period, with emotional behavior.

There is a rich bed of energy and emotions for you both. You were afraid to approach it. I will make the practice with your approval of commenting more or less regularly for a while.

(Okay.)

Do you have questions?

(No.)

Make it a point then to encourage your own expression of emotion, and Ruburt's. Do you want a break?

(How about a very short one?)

Then we will return to other material. (9:35.) Let me add, before your break, a few other remarks to this portion. The very fact that you now must take time out for the clear expression of emotion is telling, in itself. Once you learn, you will express your emotions freely as you go about your day.

(9:36. Jane's trance had been good. She said, regarding her leg pain, that when she got it just before the session she felt like crying, but didn't want to interrupt the session. She was afraid I'd be bothered, also.]

(I told her in turn, and believe she agreed, that all phases of our lives were changing, that it was vital that they do so, since the way of life we had worked out was doing so poorly. This included my painting, my job at Artistic, my attitudes about money, classes---in short everything I could think of, I guess. I'm not so sure Jane would lum all of her activities together in the same way, though -- she may not feel the need. I strongly suspected my days at Artistic were numbered; especially so since we now planned a long trip early next year, after taking care of checking the copyreading Prentice-Hall is now doing on) Seth Speaks [; we are due to get the script back in January.]

[(9:50.)

Now. In our sessions and in your work with me, various kinds of teaching methods have been used, and will be. Steps and bridges will be provided.

It is senseless to ask whether or not a bridge is true. It exists. It gets you somewhere. A bridge is a valid reality, regardless of its architecture or the type of symbols that may be written upon it, or its color, or the material from which it is made.

The Sumari language is a bridge, and valid in those terms. It will lead you into the use of the inner senses, away from the confining nature of et phrases and familiar language that is already loaded with its own connotations.

The Sumari language is a language then in those terms, a method of communication. It is the beginning of a logically unstructured vehicle that will carry you hopefully further into the inner heart of erception. I hope that eventually it will allow you to experience more fully the inner cognizance that is beneath physical perception and hysical translation.

A bridge serves those both coming and going, and carries goods in both directions. The Sumari language in those terms will be used as a method of carrying you further into the nature of inner cognizance, and then allowing you to return again, retranslating what you have learned, not automatically into the stereotyped verbal pattern.

The language will effectively block the automatic translation of inner experience into stereotypes, therefore. This is a very simple explanation. The bridge in our case will be a multidimensional one, serving therefore other purposes also. It will be (in quotes)

"constructed" in such a fashion that it allows the exploration of many different levels of reality. Some method was needed to prevent this translation of inner data from becoming too distorted by the verbal forms that so readily awaited it. Do you follow me?

(Yes.)

This is but one method. (Pause.) In following this particular line of development, Ruburt for example will be taught to free inner cognition from the recognized verbal patterns enough so that any future work with speakers manuscripts will not be stereotyped out of all roportion. A recognizable verbal pattern must of course result, but use of the language itself will break up these personal associative rocesses that cling to recognized language symbols.

Therefore clear perception of inner data can freely use the whole structure of your own language for its flow if need be, but the stereotyped patterns will be broken.

The practice with the language, and other practices that will be connected to it, will serve other purposes also. (Pause.) A certain amount of mental and psychic alertness is required on the one hand, and on the other alertness itself changes brain patterns in a most effective manner.

Other physical manipulations may also be involved, as Ruburt suspected this afternoon. The word cordella, now for example, was used instead of alphabet to break your ordinary conceptions of alphabet while conveying an idea of symbols closely allied, and upon which alphabets are based.

(Here Seth refers to Jane discussing Sumari in writing class this afternoon.)

There are, then, cordellas beneath the sensations of hearing, smelling, touching, seeing. If I told you that the skin had its own alphabet without what I have already explained, it would not have been nearly as clear. The word cordella, used in the same fashion, frees you from limiting conceptions of what an alphabet is.

Then , and only then, can you project this understanding or insight onto the word alphabet, and sense how the skin does have its own alphabet. The word alphabet itself becomes changed for you. Do you follow me?

(Yes.)

Do you want a break?

("Yes.")

(10:17---10:35.)

Now. Do you remember the word given for painting?

(As Seth, Jane referred now to the Sumari language session we held on Wednesday, December 1, in place of the regular session. As I sat on the couch in our living room, my oil painting of Ianodiala, the 14th century Turkish clairvoyant, hung on the wall behind me. This is the painting Jane had used as a teaching instrument on Dec. 1, and referred to again now.)

(The December 1 session had been recorded, and is extremely interesting. I ended up speaking some Sumari myself. Jane advanced to the point where she was able to translate some of this as we went along and the end product, in part, was some excellent poetry.)

("No. It began with an M, though.")

It was montella. (My phonetic interpretation.) Montellas are the end products of cordellas, arranged not only in a certain fashion , but congregated or placed within a certain rich sphere of dyniad activity.

("Wait---can you help me with that spelling? No. I've got it," I said, writing it out. Phonetically I spelled it out in my notes as den-i-ad.

As it turned out, I wasn't quite correct after all. Reading these notes over, Jane told me I had spelled the word incorrectly, that it should be dyniad. This is the way she wrote it out herself. She saw the y, she said.]

(We straightened out the spelling before I resumed typing these notes on Saturday evening, December 11.)

The word dyniah connotes an apparent boundary that serves to define that which lies within by acting upon it. dyniah, the word itself without the "d" ending, you see, while never appearing within the montella, defines its activity, reinforces its identity, and is as much a part of it as the hidden cordella that gives it form. (Pause.) From the outside the dyniah seems to bring the montella to an end. (Long ause.) Give us a moment here.

As you know, there is constant interaction going on within all portions of the montella, these possible because of the defining boundary (in quotes) "barrier."

I am using the different terms simply to give you an idea of how the language can be used to free your ideas about familiar things. The most (in quotes) "objective" montella is a symbol of course. The more true to life the montella is the less apt you are to realize its symbolic qualities on a conscious level.

Think in terms of impressionism and its values, then switch to the idea of a Sumari language and see the connection, and the purposes that can be served. The language is fluid. All of the words need not be defined, though key ones will be. It will be used as a method of expanding your concepts, not of teaching you to translate experience into just another but different stereotyped form that happens to be more exclusive.

Now our sessions have always involved methods of perception, and the translation of inner experience. The sessions themselves deal with experiences that are basically not verbal but must be physically translated. Translations go on of which you are not aware whether or not you perceive them, and whether or not you are affected. They are simply the results of such activity intruding into a physical montella.

Now do you see how the word used in that manner tells you something different?

("I think so. I just want a chance to think about it." Actually I did see, but still wanted time to think.)

I simply want to clue you into what I am doing as I do it.

If new ambrya---think of embryo now---(in parentheses now:) data were to be inserted into a painting, a completed painting, from the inside, then all the relationships within the painting would change. If new ambrya is inserted into a physical montella then all the relationships within it must change. (Pause.)

Everything within any given plane must follow the laws of the plane. A new sketch of a house, say, could not suddenly appear within a physical ainting---the new data could not be given that way.

The new data emerging within your physical reality would have to appear in a way that was congruous with its surroundings, and adopt then some acceptable representation. To follow it back to its source however you would have to keep sight of it as it gradually was divested of these recognizable patterns. The language gives you a thread, then, to follow it backward. You may take a break or end the session as you prefer.

(I asked for a break at 11:05. Both of us were bleary, however, so the break turned into the end of the session.)