“Seth material” search engine (Jane Roberts)

[...] And if Ruburt has access to my reality and if my reality sings through him...then my vitality is but a hint of All That Is—and that tiny and insignificant echo of the reality of all that exists. [...]

[...] And it sings throughout your blood and it is a part of All That Is. [...]

Know that within your physical atoms now the origins of all consciousness still sings and that all the human characteristics by which you know yourselves still exist within the eye of all our consciousness never diminished but always present; your individualities never diminished... [...]

[...] At a different level I sing Sumari songs, showing musical knowledge and accomplishment far beyond my normal talents or background. [...]

[...] For example, the novel included many Sumari poems and portions of Speaker manuscripts; and when I sing Sumari I identify with Cyprus, who is supposed to be a fictional character. [...]

Now each of you are indeed being given a gift each time the Sumari sings or speaks and it is up to you to decipher that gift. [...]

[...] Even now she could only link the release of her very creative Sumari attributes, the singing poetry, and prose [as embodied in her novel, Oversoul Seven, for instance], with Seth’s reference to psychic families as well as physical ones.

[...] The birds began to sing outside and I stopped, transfixed. The birds were the gods singing! [...]

[...] She’s also been very active in her ESP class this month, with extensive singing in Sumari — which is her own musical trance language¹ — and with long sessions via Seth in each class; the transcripts of some of the latter have run to five or six single-spaced typewritten pages. [...]

[...] It also happens with the audio tapes from Jane’s ESP class, as she speaks for Seth, or as herself in exchanges with students, or as she speaks and sings in her trance language, Sumari. [...]

(Jane’s voice was halting, almost high-pitched, with a sort of unusual sing-song delivery. [...]

Sweet honey-voices sing lullabies and hosannas,

Now, I cannot sing along with Mitch, but I do have something to say to this one (Sue) and that one (Joel) and, to some extent, to all of you and it is this. [...]

[...] Forget the cringing selves that you sometimes are and remember, instead, your abilities and the magic essence of your own being that sings even now through your fingertips. [...]

[...] When you walk merrily singing we want you to feel safe. [...]

(Seth singing very loudly.) Sumari is a friend of mine and their time is your time. [...]

[...] During the evening as I worked in the kitchen, I heard her sing beautifully in Sumari several times; Seth spoke also, much more forcefully that he had this afternoon. [...]

I do not sing (laughter). [...]

[...] I want her to live — with me, at home, working and singing. [...]

And a kind of ghostly elegance was added Thursday when another old friend visited and showed us color slides taken in London on Xmas/New Years, 1980, and mentioned they all chimed in to sing “Auld Lang Syne.”

[...] Mentions they all chimed in to sing Auld Lang Syne! [...]

(When I walked into 330 Jane was singing to herself in a low voice. [...]

[...] Let alone the bulk of Jane’s other work: her poetry, novels both published and unpublished, her other published books, an unfinished autobiography, the records of her ESP class sessions, her journals and paintings, her singing in musical trance language, Sumari, her never-ending correspondence. [...]

(Even so, her use of energy in ESP class Tuesday night was remarkable once again; she alternated between Seth and singing in Sumari throughout the evening.

The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.