These passages, taken together, open up again the great questions of Inspiration, Memory, Creation, Mechanism, and since each one of these words is now made to stand for differing conceptions, they are ambiguous, and we may not use them without first defining sharply what we mean. We speak of the true poet like Shakespeare, the true mystic like Blake, the true saint like Catherine of Siena, and the true Book like the Bible as all being inspired, yet in each case the inspiration is of a different order. The common element which justifies the one word is originality. Shakespeare's inspiration depends on the great Memory, on his own complex nature, and his consuming spirit of observation; but at the moment of his inspiration, all these things seem in abeyance, and the words well up as if a spirit not himself had given them to him. His originality consists in the unique impression that his rich understanding gives of the elements supplied by the Past and Present, but not in the creation of a new element. The same may be said of Dante, Milton, Shelley. The inspiration of the Bible contains all these elements, which constitute its purely human side, but there is something else which has given it its supreme power in all ages. The writers of the Bible remember and observe and think, but they also utter themselves as they are moved by the Holy Ghost. It is this last mysterious happening that inspires the creative element. The inspired poet has aided his observation and experience by drawing on the great Memory, the inspired Bible has added to the great Memory something that was not in it before. The poet can renew us, yet keeps us within the circle of the cosmic consciousness. The Bible can inspire us and lift us out of the circle far above the seven heavens of the cosmos. And that is our rescue from that nightmare of eternal recurrence which set Nietzsche's fine brain tottering down to its foundations. The inspiration of the poet is general, and that of the Bible unique; but there still remains a special kind to which Blake, like many other mystics, laid claim. When Blake was perplexed at Felpham, he referred to his spiritual guides, who were in their turn subject to God. They, according to him, were the real authors and inspirers of his prophetic books. This sort of language was rare in the eighteenth century, but is quite familiar to readers of theosophical books, ancient or modern. They teach that there are seven planes of consciousness from the physical to the mahaparanirvanic, which together make up the cosmos. The two highest planes are beyond the reach of human conception; but there are not a few to-day who claim to have attained to the fifth nirvanic plane. Here the consciousness is so finely developed, and its vibrations respond so readily, that the subject comes into touch with other intelligences, and often submits to them entirely for guidance.