“Seth material” search engine (Jane Roberts)

There is a plane down or a ship in difficulty in their locality and resulting activity in a port at the far tip end of the island furthest down in this particular group of islands (voice slurred and slow). [...] (Voice slow, slurred, long pauses. [...]

[...] She started with the Seth voice then gradually used one that was between her normal voice and Seth’s. Florence noticed that the tense changed from we to I for a while also.)

(Voice very slow and slurred all through here and many pauses.)

[...] They eat or talk with a man (voice very faint) whose name has to do with grip, you see, as bag or valise. [...]

My remark in our last session, concerning the aid that Ruburt subconsciously gave me in connection with the voice effect, did not have to do with the inner voice heard by Philip. [...]

[...] Her voice was average.)

Ruburt helped me in producing that voice that he himself heard, simply because of certain electromagnetic alterations that occur within the trance state; and Ruburt was in a trance state upon the specific occasion of which I was speaking.

(Here Jane’s voice deepened and became louder momentarily. [...]

(“Do you want to say something about the Voice?” In a rather funny confrontation, Seth and I stared at each other for a few moments. My question of course grew out of the first installment of the story about us and Seth that was published earlier this week in the Village Voice. [...] We think the pictures are especially bad, yet could see why the Voice had chosen the ones they did.

[...] The Voice has artistic pretensions. [...] It is intellectual, yet carries the underlaying thrust of emotional hope—the distorted voice of the beleaguered, weary, ironic idealists.

I cannot say anything simply about the Voice.

The Village Voice is probably read by more creative young people, and more people in the arts, than any other New York paper. [...]

[...] And as Bill Gallagher pointed out, they probably heard the deep Seth voice while in the hall outside our door; upon admittance they saw no one with which to identify such a voice. [...]

[...] Almost immediately her voice acquired a somewhat hard edge that cut through the traffic noise, and she maintained this through most of the session. [...]

(Jane resumed in the same deep voice, which now was quite amused, and at a faster pace at 9:35.)

(Jane’s voice hit a louder and stronger note briefly. [...]

[...] (Voice slurred and slow.) Perhaps planes sent out from the port to search. [...] (Voice slow, slurred, long pauses.)

[...] She started with the Seth voice then gradually used one that was between her normal voice, and Seth’s.

(Voice very slow and slurred all through here, and many pauses.)

[...] They eat or talk with a man (voice very faint) whose name has to do with grip, you see, as bag or valise. [...]

(Jane had been speaking very softly, in a very dry and husky voice that I thought was getting worse by the minute. But at my words Seth suddenly boomed through very loud and clear with no voice problem, and quite humorously:)

[...] Somebody’s [meaning Jane] losing their voice.”

[...] Have no worries about his voice.

(Jane began speaking in a good voice, more emphatic than usual; her eyes opened at times, her pace was average.)

[...] Her voice became slower. [...]

(Here Jane’s voice grew uneven and quiet at times. [...]

[...] He is squeezing the life from it symbolically and he senses the emotional (Jane’s voice sounded almost drugged here) crisis toward which he is propelled. [...]

[...] As expected the voice was quite high, clearly enunciating, seemingly distant and sexless; quite removed from any emotional immediacy. [...] As usual this new voice ended sentences on an unexpected upbeat, so that often a sentence was finished and a new one begun while I was writing without appropriate punctuation; then I would go back and add it in the proper places.

[...] At one period Jane was going to shout “forget it” to the voice, but she couldn’t find her voice to do so.

(This was a surprise, and it took me a moment to realize that Seth was referring to his own larger personality, his entity as we call it, and for whom Jane has occasionally spoken in a much different voice. [...]

(Jane’s voice trailed off. [...]

[...] Now when the myths speak, they speak with many voices. You must indeed look beneath them, and you must learn to listen to the inner voice within that is not fooled by any myths. [...] Neither words within your brain, within your mind; for the voice itself and language itself is bound to be distorted. [...]

[...] Let my voice then serve even to form a portion of the pyramid so that you have even greater feelings of support. [...] I want you then to draw energy and power from the voice and use it in your own way. [...]

[...] Use my voice simply as a thread so that you can follow it, and it can bring you back safely but concentrate upon your own feelings and sensations. [...]

[...] Now regular class members are aware of the way in  which I use this voice. [...] I want you then to translate the sound of the voice into intensities of different kinds of perception. I want you to use the energy behind the voice to remind yourself of your own energy. [...] Now even as this voice grows stronger let the feelings within yourselves grow stronger and let you feel your own energy from the inner self fill your consciousness and your physical being with vitality and knowledge and the joy of existence. Let the sound of the voice, therefore, bring out in yourselves the power of your own identity and independence, the integrity of your own being. [...]

(Jane’s voice fairly good.) We shall not try to shatter the windows, with the volume (deeper) of our voice. [...]

[...] Voice a bit stronger than usual. [...]

[...] (Touch again.) A voice with a clicking sound. [...]

[...] A nasal voice, he used frequent extra breaths between words or sentences and many ahs between words, you see, or syllables, as: well—ah—.

[...] Her voice was quiet, her pace fairly good, although with pauses.)

[...] I also told you that we would discuss some implications arising from the fact that Philip was able to hear my voice, and we shall not overlook these matters.

[...] Her voice had been quiet, her pace fast enough. [...]

[...] Her voice had been quiet, her pace fast.

[...] I thought it very likely she would speak in the new voice. Once again the voice was higher pitched, distant, more or less emotionless, and very clear. [...]

[...] This effect symbolizes Jane and me at the bottom or base of the pyramid, with Seth in the middle and Seth’s entity, represented by the new voice, at the top or peak.

(Jane’s pace had been fairly good with the new voice, faster than it has been, and remained so when she resumed at 10:23.)

[...] The voice was strong and immediate and amused.)

Allow yourselves to listen to the inner voice, the inner voice that gives vitality and existence to the physical bodies that you know. Realize that there is a vitality and a reality behind my words and my voice that exist also in your own experience. [...]

Now I invite you all to close your eyes, to listen to my voice and to use it as a launching pad for your own experiences. [...] I invite you, therefore, to listen within yourself and to use my voice as a beacon in the darkness—a point of safety. [...]

[...] I ask you to sense within yourselves the energy in this voice that you hear, to realize that this energy is also a portion of your own energy—the energy of individuality, the energy of the universe, the energy that grows you from a fetus to the self that you know. [...]

You can use my voice as a light to illuminate those pathways of existence that are now clear to you. [...]

(By now Jane’s voice was even lower and stronger than it had been a minute ago. [...] Her voice did not boom out, and was still recognizable as her own;yet the change was great, and I wondered if it might be even more dramatic. The presence of witnesses usually calls forth a little extra on Seth-Jane’s part as far as voice phenomenon is concerned. The 63rd session, when John Bradley had last been a witness, had also seen some voice changes; but they had been mild compared to this.)

[...] Jane began dictating in the same strong and very deep voice. Indeed, she kept up with the voice phenomenon for the whole session, [...]

[...] She began dictating on time, in a voice a little deeper and stronger than usual. [...]

[...] At the same time, her voice began to grow some-what deeper and stronger.)

[...] 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.)

[...] And yet you are even familiar with what comes out as what appears as my voice in your own traits and your own translations. [...]

(The second voice which came through about twenty minutes later, was louder and sounded “older.”

(Finally, Jane said that after break the personality couldn’t get her voice box going. [...] It was just that the personality had difficulty working the voice mechanism.

[...] The voice gradually strengthened however.

(Once again the new personality’s voice was high and thin and clear and distant. [...]

(When she did resume the new voice was still high, but not as strong, and used many pauses close together. [...]

(Jane’s voice abruptly rose in volume until it became very loud. I winced; the strong voice subsided quickly.)

[...] Her eyes were closed, her voice good but not loud, her pace a little fast. [...]

(Bill Gallagher voiced the thought that during delivery there is always a change in Jane’s face, but that he couldn’t articulate it. [...]

[...] Again her brogue was apparent, her voice good, her pace fast. [...]

You can do this in the opposite manner, building up from sounds visual frameworks that are completely original portraits, created from the sound of voices. Even landscapes, elemental but fragile, built up from the ebb and flowing voice of traffic as it passes by your door. [...]

[...] Voice loud, eyes wide open, very active and intimate, pace fast and very humorous.)

When you are bothered by noise and tumult, by traffic and the sound of neighbors’ voices, by lawn mowers and other irritating sounds, try this: do not fight them. [...]

[...] Or a landscape that screams out as the voice did.

[...] She had maintained her unusual sing-song voice until the end. It had been a strong voice also, and she now said that her voice had felt different to her; as though she was not using her own vocal chords, but served as a vehicle or channel through which this strange voice emerged. [...] To me there was no doubt that the voice was recognizably hers.

(When Jane began dictating again her voice had changed from a rather normal voice to one that was quite a bit more formal and harsh in tone, and somewhat louder. [...] She maintained this voice, moreover, until the end of the session. [...]

(Jane began dictation on time in a normal voice, and in a rather slow manner, then gradually speeded up. [...]

[...] Her manner and voice were more subdued now, and grew progressively quieter and slower as she talked. [...]