“Seth material” search engine (Jane Roberts)

(Pause at 9:34.) The actions that arise out of the chanting—as the circle arrangement of students—these are all deeply buried psychically and psychologically pertinent actions that have been a part of your race from its earliest times. The chanting and the action are physical keys or symbols that open up the doors to a nonphysical state of existence before those of your race entered history. (Pause.) They were significant then, and evocative. They reminded man of his past. They were ancient the first time the first man chanted, or the first circle was formed.

(From 6-7 PM this evening Jane and I attended a cocktail party given by Leonard Yaudes in his apartment downstairs. Afterward Jane, Shirley Bickford—one of Jane’s ESP class members - and I listened to the tape of ESP class, made last night. The tape contained some of the Sumari chants Jane has been giving in class recently. They are extremely interesting. I told Jane before the session tonight that I couldn’t give her much of any sort of answer to her questions about the chants or the Sumari development in general. I didn’t have enough information, etc.

(9:30.) The chants set up deep emotional responses in listeners and in those involved. The emotional, responses then are used as departure points for other experiences. The music, the chants, are richly endowed with what you might call for now racial memory, striking psychic as well as biological chords, and thereby releasing certain inner mechanisms and memories.

Hopefully the memories will later become memories of the future as well as the past. While the chants are indeed seeped in ancient knowledge inherent in the race, the knowledge itself when intuitively felt brings forth an experience of timelessness. This will make it possible for some to obtain a clear vision of their timelessness of the self, existing in future as well as past terms.

(“I feel that a whole mass of people would visualize a pyramid in their imagination,” Jane said, “then through their chanting, the use of certain vowels and pitches, they actually changed the air where that building was going to be. [...] The noise of the chant was like something that you’d use to turn on this instrument—when the chant got to a certain pitch it turned on this instrument; and it somehow intensified and focused sound to what we would call an incredible degree —broke it down and then focused it in certain directions.”

[...] The chanting was over here.” [...] “I got some of the chants, but I couldn’t quite carry it through. [...]

(Pause at 9:35; one of many.) The old Sumerians (spelled) are singing their chants now at the same time that Ruburt is trying to translate them now in your terms. [...]

[...] Now I’m getting the feeling of an awful lot of people, chanting—thousands of them—this still has to do with the pyramids.”

(Sumari came through with a chant for Gert—then discussion, then a chant for Arnold. [...]

Now the sounds and the chanting of the Sumari as you presently understand it, has many purpose. [...]

Now over a period of time you will all be given a series of sounds or a particular song or chant that will be yours alone and meant to apply to you alone. [...]

(Sumari gave a chant to Pete, Faith Briggs, Bette, and Valerie. [...]

[...] We went into Alpha to see what we could get most of us had that impression of others in the room  and Jane got the words to a chant, which she wrote down. As she started to read this chant to us, she suddenly threw her head back and wailed the words in an extremely loud voice; she then remained in trance for five minutes or so, and began to speak in a liquid, near whisper.)

[...] It is with this chant always that we begin our endeavors in our space. [...]

Now let our guardian of the portals over there close the door and this time, once again, listen to the chanting and I will not give you any instructions. [...]

(Sumari came through with a chant for class.)

[...] The chant, however, the vowels and syllables used in pronouncing the chant, are highly important and evocative. [...] In other words, the chant is a tool in that regard, a translation in completely different terms, of something far different.

[...] We played the two tapes—Jane was especially interested in the chant that preceded the Sumari’s short speech—until 9:20. Jane had written this chant down during an Alpha experiment in class; when she started to read it to us, she suddenly wailed the words as loudly as I have ever heard even Seth’s voice go:

(“Well,” Rob said, “earlier, I heard a fragment of that chant while I was still typing, but I forgot about it.”

[...] They both knew it at once, and you are lucky they did not go into that chant and dance right there. [...]

[...] If the Sumari chant then go ahead with your own communication for the chant is to serve another purpose. [...]

(Sumari came through with a chant for class then a message to Rob and Sue, then to Rob, Sue and Bette. [...]

What did you do with the first part of the Sumari chant that was to all of you? [...]

And the Sumari chants are to lead each of  you further into your own realities. [...]

(Molly Pearson said she had been doing this chanting for a long time.)

(Sumari spoke to class for some time, individually and collectively, using chants and particular characterizations. [...]

[...] Thereupon, with Sumari’s help, class got up and walked around in a circle, all of us chanting along with the Sumari, who indicated to several of us to do certain motions. [...]

[...] How many of you, for example, find yourselves setting up blocks to the emotional feelings that come about as a result of the chant-ing, and yet how many of you find a response within yourselves to the chanting, for you are doing the chant-ing as well as Ruburt or Sumari is. [...]

[...] Where are they all and now I work alone?" I almost chanted this, and more that I’ve forgotten. [...]

[...] We went into Alpha to see what we could get—most of us had that impression of other: in the room—and Jane got the words to a chant, which she wrote down. As she started to read this chant to us, she suddenly threw her head back and wailed the words in an extremely loud voice; she then remained in trance for five minutes or so, and began to speak in a liquid, near-whisper:

[...] It is with this chant always that we begin our endeavors in our space; it is not your own, and only a translation, for we do not use verbal communication. [...]

[...] At the end of the experience all involved formed a circle and joined Sumari in a chant. [...]

[...] “The right leg can go too,” she chanted. [...]

[...] “Come on, sweet body,” she chanted softly. [...]

[...] “Oh Honey, Honey, Honey,” she chanted, breathing heavily and grunting and groaning. [...]

[...] That unfortunate chant is behind the beliefs of many cults — scientific and religious — and Hitler’s Aryan kingdom was a curious interlocking of the worst aspects of religion and science alike, in which their cultish tendencies were encouraged and abetted.

[...] Through chanting, dancing, playacting, painting, story-telling, man spontaneously translated inner sense data into physical actualization. [...]

The opera here though was a legitimate connection, having to do with the way the mass is sung at Mount Savior’s. The Gregorian chant is what we were after here. [...]

(After the session Jane said she should have caught this connection, since she was brought up a Catholic and is quite familiar with the chant, mass, etc. [...]

[...] We sat at the south end of the table and made the vacant north end rise as we chanted away, per instructions in the article. [...]

[...] Again, Jane said this referred either to the schedule of instructions given in the article on table tipping, or to our own working at the table last Friday evening; our rubbing our hands, chanting, etc.