THE GUIDING HAND: Automatic Writing

We welcome Cosmeta to #)Gaia*Friends(.
She has prepared a comprehensive class on automatic writing.
Cosmeta is a teacher and channeler from New Jersey.
For more about Cosmeta, you may visit her extensive web site.

I have been asked to speak today on the topic of "Automatic Writing," of what it is and how to achieve it. According to Lewis Spence's Encyclopedia of Occultism and Parapsychology, Automatic Writing is "Writing executed without the agents violation and sometimes without their knowledge." Writes, Spence, "The term was used by psychical researchers and applied particularly to the trance phenomena of the seance'-room.

By spiritualist, writing or speaking produced "under control"---that is, under the controlling agency of the spirits of the dead---and are therefore not judged to be truly automatic." The general consensus, however, writes, Spence, "ascribes such performances to the subconscious activity of the agent." The agent, in this case, being the supposed trance medium.

In modern lingo, that might translate into the "channel" or the person who is credited with this writing feat; except that, in the 20th century the word "channel" implies communication with the higher realms and even with SOURCE itself. In which case, we might be looking at mental processes of inspiration and/or its accompanying source, (i.e., with a past life entity), rather than communing with the dead who once occupied this same time line. We might be comparing the inner workings of the superconscious mind rather than the subconscious.

It is not so much a definition of terms that matters here, but rather the time and manner in which we use it. Since the term "Automatic Writing" was first coined in the late 1800's or early 1900's, for the time being we will attempt to define "automatic writing" according to the day and era in which the term was first employed as a specific technical term.

We have come a long way, since the days of Spence and medium ship, and controls, and darkened rooms with candle's burning, all in an attempt to call back the dead or to manifest some small proof of their afterlife existence. Now, please do not misunderstand me, here. We are not saying that medium ship did not exist; nor are we saying that in our own present time, it does not exist. Nor are we saying that it is not possible to bring forth writings of the dead via the mediumistic hand of the entranced individual.

Far from it. What we are saying, however is that there is enough room in this phenomena to warrant our serious considerations as to how it takes place. Hence, we are most interested in trying to understand the mechanics of such.

In order to do this, we need to understand how one normally writes. Here is a brief but simple rundown: We pick up a pen or pencil, or in this day of technology place a keyboard in front of us.

Open to a blank page, and for most of us, unless there is a preconceived idea, the impulse to write may be impeded least we be motivated to the moving of the hand. A hand by the way, that will not move until our thinking brain tell it to. It is all that easy and for many of us, we might say that this process is automatic. Yet it is not.

If for example, we were to place a pencil or crayon in the hands of a pre-schooler, or an infant, the most that will be produced would be some scrawling images having no discernable coherent meaning, except it be to the child. But once we teach the child to associate a visual image with an accompanying sound, the black and white image will come alive with meaning.

All this must necessitate the thought process which is largely based upon the operation of the 'Cerebrum', the walnut shape grouping of nerve cells and tissue that comprise the major part of the left and right hemispheres of the brain. Near the top and almost mid-center of our craniums and just in front of the 'Central Fissure' one finds the grouping of nerve endings that control the actions most body movements and bodily coordination of leg, trunk, arms, hands, fingers face, lips, jaw and tongue.

At the back of the brain, there is located the 'Cerebellum', the part that controls our bodily coordination. Near it, and just underneath one will find located medulla oblongata or brain stem; the portion of our brain is said to be our former animal instinctual brian and does monitor most of our "autonomic" or "automatic" bodily responses, such as heartbeat, breathing and the blinking of the eye, for example. Hence, those things the body does, "automatically" and without forethought. We need not think of our breathing in order for this to occur. It just does. And so, we ask, does "automatic writing" have anything to do with this particular portion of the brain? Theoretically, we could also ask, does automatic writing have anything to do, with any portion of the brain or is it rather an outside phenomenon? That is to say, and in line with Spence theory: Do 'Automatic Writings' take place via the control of our dearly dead departed or is it indeed an action of belonging soley to the subconscious mind. And if so, how?

Let us suppose for a minute that we accept as a valid truth, that possession of the body is possible in moments of trance. The ghostly spirit-form of a deceased enters the body, either willingly or not and takes over. Fine. But does this ghostly form contain a counterpart brain? For surely one would be needed in order to control the activites of the mediumistic agent. If not, then what we in essence have, is one ghostly form and one physical form, wholely intact and capable of writing.

Yet we are missing something. We are missing the how to of, how information gets passed from deceased to agent. In otherwords, some data must be passed to the recipient's brain and then to hand. Or, is the hand moved of its own accord. In which case, we would have a spirit capable of manipuating matter, and with forethought no less.

Consider the following: "In describing his first experience at a seance' of Home and Williams in 1872, Stainton Moses writes in 'Spirit Identity': "My right are was seized about the middle of the forearm, and dashed violently up and down with a noise resembling that of a number of paviours at work. It was the most tremendous exhibition of 'unconsious muscular action' I ever saw. In vein I tried to stop it.

I distinctly felt the grasps, soft and firm, round my arm, and though perfectly possessed of senses and violition, I was powerless to interfere, although my hand was disabled for some days by the bruising it then got. The object we soon found was to get up the force."

The daughter of William Howitt, writing for the 'Pioneers of Spiritual Reformation' writes: "My father had not sat many minutes passive, holding a pencil, his hand upon a sheet of paper, ere something resembling an electric shock ran through his arm and hand; whereupon the pencil began to move in circles." After being raised into the air it finally came to rest upon the paper at which time some automatic writing ensued in a passive and clearly delineated manner.

Mme. d'Esperance said that she noticed a tingling aching numbing sensation ... the kind that might be produced if one bangs their elbow against the edge of a table. She further states that her entire arm began to feel quite cold and that there was a swollen sensation (perhaps suggestioning ectoplasmic phenomenon or that of elongation).

In the above cases, the author does not tell us what was written and so, we do not have any proof whatsoever that contact with a discarnate spirit was ever made. Even if we were to accept these descriptions as valid, the question that needs to be asked is this: Is it possible, that the mediumistic agent in these cases to have been effected by the sitters in the room. (Remember please that twelve was usually employed).

In addition, if the sitters were invited to a seance room with the *expectation* of a manifested hand, then I dont think we should discount the notion that perhaps telepathy was somehow involved in producing these manifestations.

Mrs. Piper, a well know medium of her day gives us our first hint of what the prevailing thoughts were of that day. Writing in trance, she says: "Automatic writing may be produced in the wakeful state or in trance. There are many degrees of the two states, blending is frequent, the important point apparently being to bar the interference of the conscious mind. In conscious writing it is the writer who moves the pencil, in automatic writing it is the pencil which moves the writer.

In the wakeful state, of course, the writer is fully conscious of the strange thing which is going on but he must remain entirely passive. He may watch the flow of sentences but if he becomes too interested or anxious the writing becomes disconnected, words are left out, or the meaning becomes unintelligible."

It is best, writes entranced Piper, "If he occupies himself with something else, like Stainton Moses, who kept on writing consciously with his right hand while his left was in control of his communicators. All this, however, varies extremely with different mediums." And in our day and age, from channel to channel.

With the aforesaid in mind, I would like to take this breif opportunity to describe to you some of the things I myself have noticed when I write and only in connection with spiritual, esoteric or metaphysical topics, or to spiritually inclined people. Case in point, when I wrote The Song of Mark or for that matter anything that comes from my own "Guided Hand," the title of tonight's topic, by the way.

Perhaps, may of you will add your own input and/or experiences to mine, for surely I alone do not hold all the answers.

I was writing for a long time before I ever noticed that something strange was going on. Well, strange is not really the right word for it. Perhaps, the word *different* would be better. But before I begin, I would like to state most positively that I do not consider myself to be a medium and even the word channel not does fully describe me or my writings. For I am one, who, under Mrs. Piper's definintion has the ability to write while in the wakeful state.

And although I might best describe my condition as one being akin to a semi-trance state, I am always conscious of what I am writing, for example. And contrary to popular belief, I do not, have never attempted to, nor will I ever give up conscious control over what I do, (or say, for that matter). And if I were to teach anything in connection with writing, I would advocated the melding and the blending of higher self to the point whereby we become just a vessel and the hand just a mere vehicle as the mouth and vocal cords just another voice amidst the Voice. Here goes...

The first thing I noticed.. the very first thing was that I lost track of time. That is not an analogy but a fact; 16 hours to me often felt like ten minutes. The second most important feature that I became aware of, was that I had a highened sense. If for example, a noise occured, something to interrupt the flow, (a pen dropping) for example, I would automatically be transported back to a mundane state and with a thud.

The feeling is very similar to what one describes upon a speedy astral return. The heart races, the breathing increases, visual contact with this world is made once more; until finally, I begin to hear the sounds around me as one by one, they come to the fore.

There is also a beat to my writings, a rhythmic flow. Were I to use a pen or a pencil, I can notice the heavy and light places where I seem to be emphasizing emotion. Similarily, when I use the the typewriter or computer keyboard, I am made aware of the beat and sound of the keys, (one reason why I insisted on purchasing a keyboard that clicks as the keys are depressed).

The compulsion to write also became a factor. Prior to my meditative years, I hardly ever picked up a book to read let alone take to the written word. Now, this may sound odd to some of you; and to others familiar, -- but often nothing would happen while inside of that meditative state, but rather outside of it, when I was most relaxed, and as Piper suggest, in the midst of doing something else. Not that I would write then, but my mind would become full, as opposed to the silent empty meditative phase.

If for example, I was in the middle of a mundane chore, washing the dishes, let's say, (something that does not require much thought), the sound of the running water would take me places ... I know not where. And so, I would have this compulsion to write it all down lest this opened floodgate of thoughts pass me by.

There was also a noticeable breeze and heat sensation that borders on the cold feel of being near dry-ice and accompanied by an uncontrollable itch; which, when ignored might have produced the feeling of swelling ... of elongation as if my hand were reaching out to something or to some unknown place. Or, perhaps it was the opposite, someone or something were reaching out to me. When I gained the ability of auric sight, and if I looked down, often I could see colored energy surrounding my hand, as if to say, write, write, write. And so I would.

(That is to say, after I turned off the water and dried my hands. I am not normally, ambidextrous). I say not normally because I can be. I can at times write with both left and right hands simultaneously and in a mirror image fashion -- from left to right with my right hand and from right to left with my left. (I do at times run in reverse, for example) ~smile.

I also learned from my many experiences that my hand as well as my mind was indeed being guided. Tis not at all like what Mrs Piper describes for never have I felt that the pencil or the pen or the typewriter were in control of me or my mind. Rather, I would say that I was en rapport with whatever medium I chose. Let us take the computer, for instance. At first, learning to write with this mechanical marvel was quite annoying. But then, i learned how to best utilize it to my advantage.

I learned, for instance to beam in on the sound of the modem and to utilize it in the same manner that my inner guide had initiated me into the sound of the many waters. By training myself to do this, I often found I could hear a slight inaudible tonal sound that seemed to emenating not from inside of my head directly but rather coming from someplace outside of my right ear. Never my left!

I also found and uncovered a partial secret to my guided writings. Namely, the placing of the eyes. For I did notice that when I wrote with paper and pen or even with the typewriter, that often, in the pauses, as I breathe for instance, that my gaze would take an upward slant; as if I were talking to and pulling in information from the empty air about me. With this in mind, I sought to place my monitor in line with and slighter elevated to my direct line of sight. (This little tid-bit might also benefit those of you who suffer from head and neck strain as well).

I found for example, that if I were interrupted, I could gain back my momentum by placing my eyes, or, in dire need, I could always return to the sink and run some water. And if per chance a thought come to me mid-stream, so to speak, I could always retrace my steps in an attempt to recapture it, in the same way and manner that rolling over might allow the escaping dream to come to the fore once more.

It is not my purpose to expound upon these ideas for self gratification but merely to point out how the mundane does indeed effect us or come into place with regard to the 'Guided Hand'. And by mundane, we might also include our sleep phases; which in turn do impact our wakeful hours. For there does seem to be a certain degree of integration that be needed in order to form the right rapport with other realms, be they the lower or the higher of the two.

Hence, whatever we do during sleep or in prayerful meditative moments also must be included. Go to sleep with spiritual thoughts and you will not only dream a dream but awaken with it in mind.

This does not mean that we will retain conscious recall of the dream but only of the dream itself. Let me give you another example here. When I was in the midst of composing the Song of Mark, and yes, on the earthly plane reading, researching and contemplation, etc, there would be infused in my dreaming self, a strangely lite language that I could neither read nor understand if per chance I noticed it, in my twilight state. Yet there, it was all so clear. Upon awakening, however, the mind would think and ask for explanation and none would come.

Why of course not, this, earthly mind knows English and no other.

Yet, mind alone will not make manifest unless it be placed upon the earthly ethers. And so, I like many of us, needed to push my earthly ego aside and attempt to write sponteneously, not worrying necessarily about grammer or spelling, trusting, always, trusting. In order to do this, we do suggest that we make it a habit of keeping pen and paper nearby and/or kept that typewriter available for we know not whence or where Spirit enter or what it wishes to convey through us, less we allow it access and not impede its flow. And so, yes, a certain amount of faith is required.

One might also consider blessing the instruments of our work as well. Treat of the pen and paper, keyboard and/or monitor in the same way we would a silk scarf meant for healing purposes, and bless it. In so doing, we charge and infuse both our writing tools as well as our bodily apparatus with our intended purpose. Not in any attempt to control Spirit but rather in an attempt to meld with it.

Relating this to a developed auric sight, for example, I could look at an empty page and see it empty or perhaps I might notice a slight emanation being produced by the paper itself; but after writing, (especially spiritual pieces or inspirational ones), its aura would change. And if perhaps the piece were done; -- oh, let's say if I had been working on a project for a number of days or weeks, I would know when I had come full circle with it because the page would have this marvelous violet electric blue aura; as if Spirit had infused and blessed it, and not I.

Inspirational writing, then, does not mean the total barring of the conscious mind but merely the setting aside at least temporarily, so that Spirit may manifest through us and become as it were, our Guiding Hand; a hand that must be en rapport with the heart as much as, if more so, to the mind in order to create inspirational pieces, or pieces that bespeak of love, light, truth or wisdom.

For is not God the one and only true author, the one who be our 'Guiding Hand'. And if our God sends us aunt Mildred and not the Virgin Mother, shall we discredit the information when in truth is it just as good, and high and holy as if the Blessed Mother descend down herself and be seated by our side.

Make the hand and mind one with the Mind and Heart of God, for it is there that you will find your point of inspiration. So that, when you reach, do not reach merely for pen and paper but like Moses who ascended to mount Horeb and encounted the burning bush, point your gaze upward, and there in the nighttime or noontime skies you will see the Hand of God, not only pointing the way but painting pictures of indellible light. Tis a light that is always there for anyone who wishes to become that vehicle and to make manifest the Written Word of God.

Now, the question remains to be asked, just how does one go about becoming an instrument for God. Or, how do we become an inspired writer and one who is a channel, not just for inspired writing but one capable of pulling down Spirit? Some answers are obvious; meditation, prayers, always attempting to do good both in our own eyes as well as in the eyes of another; right living; of surrounding self with aesthetically pleasing things so that we may obtain inspiration from it. To be amidst the trees and stars all at the same time.

Okay, so we are impressed, will this alone make for a "Guided Hand," or a hand guided by *Spirit* (in caps please). Are not all good writers inspired, even those that do not believe in spiritual and/or supernatural things. And if we are not, aren't we just, that, good writers. And if we wish to be good writers, are there not some techniques that we can draw upon and incorporate in our mediumistic and channeled hands ... limbering up exercises if you will. For even the artist will draw circles in the air to loosen and relax the wrist.

Or, how about, training self to keep a pad and pencil next to us, so that after we have finished a period of meditation we my write down what spirit has imparted unto us. No need for 12 sitters, here. Just you and your God. Increasing the writing and/or typing speed also helps; not only in write spontaneously but train the hand to move as fast as the mind. But in order to do this, one must forego worrying about grammar or style. To make room for Spirit. And so, I do suggest, getting it out, first.

Editing for grammatical perfection can always be done later and without altering or changing the message imparted. I found too, that addressing an open page to God helps. Say, Dear God, what do you wish me to write today. Await and answer or just start an imaginary running dialog and before you know it, you will be communing with Spirit. You may also try this exercise to facilitate an unbroken rapport not only with your own God but between left and right hemispheres of brain. It is this:

On an empty page, write, I AM. Then as fast as you can, repeat that by adding on to you. You must not allow you mind chance to stop or to analysis, nor should you pause to prevent any seemingly nonsensical or our so-called negative ideas from taking root. In other words, we attempt to be as honest with self as we possibly can without stopping the flow. And do not stop until all is written, even if you end up with several pages of nothing but, I am this... and I am that.

But, should you start to include other types of dialog, do not hamper it but go with it. Who knows, you may even find yourself noting things about yourself you never knew. Why, you might even uncover some past life data. Try it! It is a good way to train oneself to be spontaneous. It is a good way to unseal both subconscious and superconscious minds and even permit them to communicate one to the other.

Open Discussion

AGEYA> When I did it, the few times I did.... I did receive information from my Guides.... some of it was valid and I had many validations from friends. I have stopped, since some of it was not correct. I want to continue it, however, since I know that it is real. I am glad.. that you are teaching this class tonight, Cosmeta, and I thank you.

Cosmeta: :)

^Storm^: I was transing as usual when in the deep part of my mind i saw a seen going on it brought me out of transing and i grab a pen and paper and within 15 mins i wrote a childrens story, i have not published it but am considering it. Cosmeta does that sound like automatic writing or the other way?

Cosmeta: there are many forms of automatic writing

daysi: Cos, I have friends who have explained this as
"words dropping off my fingers."
Cosmeta: never heard that expression, daysi but makes sense

Susanrose: Lastly, I want to add here a short writing on this subject that
I snychronisticly surfed into just a few days ago.
It causes us to pause and consider what source we are
tapping into when attempting automatic writing.
Rather than rushing into it, (like kids with a Ouja board, at
a slumber party) it would be best to first find your place of peace.
With a grounding affirmation of your spiritual ideals,
you will be protected from the chatter of wayward thoughts or spirits.

Throw about yourself the cload of protection that is found in the thought
Of your most trusted Higher Power. Good advice always. :)
Here it is, pasted now:

Does Automatic Writing Come From Spirit?

by Andrew Fitzherber,

Some mediums can take a pen, relax the mind and body until "something else" starts to write with the hand holding the pen. Occasionally a spirit will take control and do the writing. At other times the medium's own sub-conscious or even the Higher Consciousness, will produce the writing. This is called automatic writing. Whole books have been done this way. One Brazilian medium has produced 70 books by 70 different dead authors.

Anyone can try this process, but you must be careful. It is unwise to experiment on your own. Get a friend to sit with you, or practice in a spiritual group. Be sure to pray before you start and after you finish. Don't watch the writing whilst it is being done. The best mediums can hold a conversation while their hand is busy writing about something entirely different. Only let it happen when you are sitting for it, ie. don't let it occur at odd moments.

Closely allied to this is "Inspirational Writing", the medium writes normally but finds the information is being fed into his or her mind. Val Higson, the well known Brisbane medium, has several spirit friends who dictate poems and essays to her. She sits at her computer, asks for spirit help and the next thing her fingers are flying over the keyboard. Many of the addrresses that Val reads out at church have been given to her this way.

Ruth Bennett, Minister of the Church at Windsor, has occasionally had whole addresses dictated to her from spirit. One Sunday she was ironing and had to stop and get a pen, as a Spirit wanted to dictate. It turned out that night the regular medium did not turn up to church, so Ruth read out the address given that afternoon. This "Inspirational Writing", is often of great value and never creates the problems that often affect people who play at "automatic" writing in a careless or casual manner. Some novelists have experienced it. Charles Dickens and the children's writer Enid Blyton are examples. Both claimed they did not make up stories. Instead, characters seemed to come to them to tell or to act out the stories. They just wrote down what was given to them. Enid Blyton did hundreds of books this way.

Inspirational mediumship can also produce paintings and drawings, Mathew Manning's hand created amazing pen and ink drawings. They would begin in one corner and grow to fill in most of a page. It was as if the sketch grew on the paper like a plant. There have been musicians who received musical compositions like this. Mozart once received a whole symphony in a single second and spent days writing it out. Rosemary Brown, the British medium, has the spirits of several dead composers who come to her and dictate new pieces of music. Music critics say that the best pieces are very fine music indeed and typical of the musicians when they were alive.

There are many forms of mediumship. In future articles I shall explore some of the less common and most interesting forms. Reprint from Silver cord Magazine

Guardian: thank you. It was very interesting....
Dragon: Night all!!.. nice listening to you !!
Cosmeta: Susanrose, Godwin, Storm, it has been a pleasure
Godwin: enjoyed it Cos
Cosmeta: Susanrose, you are special
thanks for having me as your guest speaker
susanrose: Thank you so much
Cosmeta: np storm... pleasant dreams then
susanrose: give your kids a hug for me!
Cosmeta: and may God bless

Note from Susanrose: Due to time limitations of the Live Nature of the
#)Gaia*Friends( Gathering, the last part of Cosmeta's
information was not presented.
For those of you who would like to read further on this topic,
I have pasted it below as a post script.
You may also want to see Cosmeta's copyrighted work in one piece, without comments.

Part IV

In the "Book of Mediums," by Allan Kardec automtic writing is broken down into four main categories: 1). Mechanical Mediums; 2). Intuitive Mediums; 3). Semi-Mechanical Mediums; and 4). Inspired Mediums.

I. Mechanical Mediums

Violent shaking or convulsive movements of the hand are attributed to lower spirits and/or imperfect entities, writes Kardec and would fall under the category of the Mechanical Medium. Although not directly stated, the implication here is that some measure of force is used by the controling spirit and that these convulsive motions are caused by an external and internal struggle going on between spirit and medium. As if to gain control over the pencil. According to the author, the more advanced spirits are always calm, dignified and benevolent and when asked to leave the seance' room would, whereas lower spirits tend to be less willing. There is no evidence that would seem to suggest possession of the host, however; yet we are given the impression of a spirit standing along side of medium, guiding the hand the way a teacher might hold the hand of a student.

The conclusion arrived at by Kardec suggest that the spirit expresses its thoughts directly either by playing upon the hand itself or the object held in the hand. Hence, we are talking here, of either a lower or higher spirit capable of manipulating matter. The prequisite seems to be in the passivity of the medium. This alone would tend to suggest a losely held pencil or that the arm and hand of the medium were in such a relaxed state to allow an invisible entity cause to guide it. The Mechanical Medium, writes Kardec, is totally unware of what is being transcribed though him. "When the spirit acts directly on the hand, he gives it an impulse completely independent of the will." This would seem to suggest, that automatic writing or at least the content thereof, achieved in this manner is credited to the mind of the spirit rather than to that of the medium. The Mechanical Medium is not consciously aware of what is being written.

II. Intuitive Mediums

Intuitive Mediumship is the transmission of thought through the intervention of a foreign spirit who wishes to utilize the medium for its communication. The foreign spirit, in this case, writes Kardec, "Does not act on the hand to make it write; he does not hold it, does not guide it; he acts on the soul with which he is identified. The soul, under impulse, directs the hand, and the hand directs the pencil." The following point is stressed by Kardec, however, the foreign spirit is not a substitute for the soul of the medium or in our own age, channel; does not displace it but merely controls it at his will and impresses its will upon it. He then goes on to state, that the part of the soul being impressed is not completely passive but instead receives impressions and then must transmit it; so that to a certain degree transmutation of thought as well as interpretation is involved here. From this, one would not necessarily be able to tell whether this form of communication come from the foreign soul or the soul of the writer.

Kardec suggests that distinction can be made in that the writing is not readily recognizable as one's one, is never preconceived and that it is, "born as it is written." Furthermore writes Kardec, what is transmitted may not be known to the individual before hand and that the knowledge brought forth may even negate or be opposite of what was originally believed. By comparison, therefore, the Mechanical Medium acts rather robotically whereas the Intuitive Mediums plays out the part of interpreter. If this be so, one would thing that Mechanical Mediums, since their hand be completely dominated by a foreign spirit be closer to what that spirit wishes to convey whereas the Intuitive Medium may not always be as accurate in its transmission. This to me, would tend to suggest that the former is the better medium when in fact the latter might have a clearer picture of what Spirit (i.e., Source), wishes to convey.

III. Semi-Mechanical Mediums

"The Semi-Mechanical Medium partakes of both natures," writes Kardec in that he or she may feel the impulse to write even in spite of themselves and has a conscious awareness of the rapidly words being formed. With the first type of medium says Kardec, the thought follows the act of writing and with the second, the thought precedes it and with the third type it accompanies it. According to Kardec, of the three types, Semi-Mechanical Mediums are most numerous.

IV. Inspired Mediums

"Every person who, whether in the normal state or in a state of ecstasy, receives by thought, communications foreign to his preconceived ideas, may be ranked in the category of the Inspired Medium;" writes Kardec. "Men of genius, scientists, men of letters --- are doubtlesss advanced spirits, capable by themselves of understanding and conceiving great things; but it is precisely because they are considered capable that the spirits who desire the accomplishment of certain work suggest to them the necessary ideas; and thus they are most frequently, mediums without knowing it."

We are also informed that any person, even those not endowed with extraordinary intelligence, and/or those who do not leave the normal wakeful state can be classified as the Inspired Medium. According to Kardec, the prequisite seems to be in the ability to have flashes of intellectual lucidity which gives as least in part a tempory facility of great perceptions, even those of the future. Besides, sponteneity, they key here seems to be in not knowing or not having mastery over an idea prior to its manifestation. They are new ideas, for example, and come to us as they are being formed. That is to say, in the case of the Guiding Hand in moments of inspiration, ideas abound, are contiunuous and carry with it a strong alomst complusive desire to write it down.