A classic example of the direct line to inner guidance is Joan of Arc, who as an eighteen-year-old demonstrated her destiny with her decisions and predictions that were incomprehensible to the human mind and, above all, with her successful military leadership, and did so consciously, obediently and tolerantly, i.e. not fighting for her own self-preservation. Jeanne never allowed her heroic deeds to be attributed to her “self”, to her person, but always made it clear that she was the messenger of her inner guidance. To make a clear distinction: The voice Joan heard came from “above”, the soul, whereas mentally ill people who also hear voices that want to incite them to misdeeds come from elsewhere
Sensitive artists have the awareness of guidance from within: It is what Johanna called her “voice”:
“Composing is a process that is not so easy to explain. When inspiration strikes, it is of such subtlety … that it almost defies precise definition. When I am in an inspired mood, I have certain obsessive visions under the influence of a higher power. … I know that the ability to receive such ideas into my consciousness is a divine gift. …I was … aware of the help of a power other than an earthly one.
(Johann Strauss son)
“Jesus proclaimed a great truth: “It is not I, but the Father who dwells in me, who does the works” when he said this, and when I feel myself at my work in my greatest creative power, I feel that a higher power is working through me.”
(Ludwig van Beethoven)
“To realise, as Beethoven did, that we are one with the Creator is a wonderful, awe-inspiring experience. Very few people come to this realisation. … I always think about all this before I start composing. … Immediately afterwards, I feel vibrations that permeate me completely. They are the spirit that illuminates the inner powers of the soul, and in this state of rapture I see clearly what is dark in my usual state of mind; then I feel able to let myself be inspired from above like Beethoven. … These vibrations take the form of certain mental images, … immediately the ideas pour in upon me, … bar by bar the spiritual work is revealed to me, … I must be in a state of semi-trance to achieve such results – a state in which the conscious mind is temporarily masterless and the subconscious reigns, for it is through the subconscious, as a part of omnipotence, that inspiration occurs. … This is how Mozart composed. He was once asked about the process of composing, and he replied: “It happens to me as in a … dream.”
(Johannes Brahms)
“From my experience in composing, I know that a supernatural influence enables me to receive divine truths and to communicate them to the audience through my operas. … The secret of all creative geniuses lies in the fact that they possess the power to appropriate the beauty, richness, greatness and sublimity of their soul as parts of omnipotence and to communicate this richness to others.”
(Giacomo Puccini)
“I have … observed that one must observe certain laws, the two most important of which are solitude and concentration. … A composer must wait in silence for the instructions of a force that is superior to his intellect.”
(Max Bruch)
(These reports show only monodirectional communication. This is perhaps the norm for artists. Mystics, i.e. people with direct interaction, on the other hand, have a complete dialogue, i.e. they communicate with their inner guidance in a dialogue of questions and answers).
(All, plus Wagner and others, in: Abell, Arthur M.: Conversations with Famous Composers. 1962.)
These reports show only one-sided communication from the spiritual level, i.e. from the inner voice to the outer person. This is perhaps the norm for artists. Mystics, i.e. people with direct interaction have, on the other hand, a complete dialog, i.e. they communicate with their inner guidance in questions and answers on both sides. This often takes place in such a way, that detailed questions can be addressed to the soul, whereas it either gives detailed sentence or image impulses or the answers are either yes or silence, because there is no No from the divine side.
The English word ‘tuition’ means ‘instruction’; the German word ‘In-tuition’ indicates the character of the matter, i.e. the instruction by one’s own inner power. All creative spirits know that they are dependent on these ‘instructions’ and must wait for them. Everyday people, however, believe that their own mind is the source of inspiration.
Even some scientists realised their intuitive influx: “I sank into reverie. The atoms whirled before my eyes. I had always seen them in motion, those little creatures, but I had never managed to eavesdrop on the nature of their movement. Today I saw how often two smaller ones joined together to form pairs; how larger ones embraced two smaller ones, still larger ones held three and even four of the smaller ones, and how everything turned in a whirling round dance. I saw how larger ones formed a row and only dragged along smaller ones at the ends of the chain.”
(Chemist August Kekulé on “his” invention of the benzene ring: Wikipedia)
Thomas Alva Edison’s “inspiration” (light bulb), Niels Bohr (atomic model) and Goethe all have similar stories to tell. But prominent creative artists are also currently expressing themselves in this sense: The author of the Harry Potter books says about her inspirations:
“When I’m planning a book, I often have several ideas in my head at the same time. I always try to catch the best ones as they fly by…” (DER SPIEGEL 22/2018)
Prominent contemporary authors are asked about their ideas:
“I let them find me. Ideas need space … It works best in the morning. I stand in the shower with an empty head and let them drip in.” (STERN 19/04/2018)
“Everyone who works creatively to some extent experiences that something is at work that is stronger-willed than they are. … You can’t think up the really good passages, they come, they’re suddenly there. … My best texts were always wiser than me.” (SPIEGEL 18/2018)
Keith Richard received the melody of “I can’t get no satisfaction” as he roused himself from sleep on a May night in 1965. Dave Steward (Eurythmics) reports that “his” melody to “Sweet Dreams” came to him “as if out of nowhere”.
How do these geniuses know that their inspirations don’t come from their own minds, but from deep within? Basically, everyone knows this. There are experiences in our lives where we immediately realise that they could never have been products of our mind, because these products lie completely outside our memory bank and its known problem-solving skills. One of the world’s greatest inventors, including Artur Fischer, who invented the Fischer dowel, clearly recognised this when he was asked in an interview about “his” more than 1000 patent applications and replied that inventing comes from the soul:
“You should do what comes to mind and what you need. Invention goes through the soul. … We are part of creation, which is why we can deal with it and … be creative. Out.”
The polymath and philosopher Leibniz said of himself:
“When I woke up, I already had so many ideas that there was not enough time in the day to write them down.”
As I said, Einstein did not develop the theory of relativity, it was given to him. He received the idea. His part was then to realise this idea, this concept, based on the talent he had received and the skills he had acquired through his training in theoretical physics.
This shows that people do not have characteristics. It is the control programmes within them that are behind their behaviour and for which the human being is not initially responsible. This is the only reason why the Nazarene can say to the adulteress that he does not reproach or criticise her: “I condemn you … not!”
He knows that it is not her as a person who is responsible for her behaviour, but her impulse control. And these are universal behavioural controls, i.e. programmes that everyone has. The Russian writer Dostoyevsky coined the apt expression “innocently guilty” to describe human behaviour (The Young Man II, 4). However, he does not explain the reason for being guilty, namely that man is here on the earthly stage at all for karmic reasons and also that he does not want to take a step back to “his father’s court”; innocent because he does not know what he is doing with the best will in the world, because he is largely a defenceless victim of his instinctive control.
That is why criminals and all wrongdoers in general are not essentially evil, but “only” do evil. Because “… they do not know what they are doing.” They do not know that they are only the megaphone. This becomes particularly clear in the numerous reports about sex offenders, paedophiles and serial killers whose guilt is seen in their person. As if they could have made a conscious and uninfluenced decision for or against the offence at the time. Anyone who has ever come into contact with addictive behaviour knows all the more how strongly the corresponding urges subtly but uncompromisingly dominate our behaviour. This is impressively shown in the film “Free Will.”