“Seth material” search engine (Jane Roberts)

(I am not sure exactly what happened, much less what caused it. I’m writing a prose sketch of Father Trainor. I thought that if I tried reading G. K. Chesterton’s Lepanto, and Gray’s Elegy in a Country Churchyard the way Father Trainor used to, my memory would be refreshed. I wanted to describe his poetry readings for the sketch.

(I stood up and began to read. The sudden volume and depth and timbre of my voice was instantly apparent, and startled me. I read all of the Lepanto and part of the Elegy in this manner. My voice boomed—I sounded more like Father Trainor than like myself. The volume of my voice was really tremendous.

(I was so angry that I did the whole thing over again. Lepanto is a four-page poem. This time the performance was about like the second one, already recorded. Perhaps if I feel subjectively right about doing it again, I may try it tonight. I don’t know where the volume comes from, the deep manlike tones. Perhaps it is what actors call merely projection, breathing from the diaphragm. I wasn’t conscious of breathing any differently than usual, but if this was a subconscious production that wouldn’t make any difference. But where would the male aspect enter, unless it be a woman’s attempt to mimic as best she could the voice of a man she had admired?

[...] During the evening we played some tapes also, and among these was one of the recordings Jane made of G. K. Chesterton’s poem Lepanto; Jane was in a trance state while reading this, apparently in a close approximation of the voice of her now dead friend, Father Trainor. Lepanto was Father Trainor’s favorite poem. [...]

[...] It happened very close to Lepanto. [...]

[...] Last evening she tried a rereading of the two poems involved, but stopped before getting through G. K. Chesterton’s Lepanto. [...]

[...] On the tape she manifested many voice changes, while reading G. K. Chesterton’s narrative poem Lepanto, that were quite reminiscent of the way the deceased Father Trainor had read it. [...]