Enthusiasm – In enthusiasm – or possession – God is understood to be outside, other than or beyond the believer. A sacred power, being or will enters the body or mind of an individual and possesses it. A person capable of being possessed is sometimes called a medium. The deity, spirit or power uses such a person to communicate to the immanent world

Lewis argues that ecstasy and possession are basically one and the same experience, ecstasy being merely one form which possession may take. The outward manifestation of the phenomenon is the same in that shamans appear to be possessed by spirits, act as their mediums, and even though they claim to have mastery over them, can lose that mastery

Ecstasy, trance – In ecstasy the believer is understood to have a soul or spirit which can leave the body. In ecstasy the focus is on the soul leaving the body and to experience transcendental realities. This type of religious experience is characteristic for the shaman.

Skeptics may hold that religious experience is an evolved feature of the human brain amenable to normal scientific study.

Many religious and mystical traditions see religious experiences (particularly the knowledge which comes with them) as revelations caused by divine agency rather than ordinary natural processes. They are considered real encounters with God or gods, or real contact with higher-order realities of which humans are not ordinarily aware.[5

A religious experience (sometimes known as a spiritual experience, sacred experience, mystical experience) is a subjective experience which is interpreted within a religious framework.[1] The concept originated in the 19th century, as a defense against the growing rationalism of Western society.[2] William James popularised the concept.[2] In some religions, this may result in unverified personal gnosis.[3][4]

The Book of Hours was largely developed at the artist’s colony at Worpswede, but finished in Paris. It displays the turn towards mystical religiosity that was developing in the poet, in contrast to the naturalism popular at the time, after the religious inspiration he experienced in Russia. Soon thereafter, however, Rilke developed a highly practical approach to writing, encouraged by Rodin’s emphasis on objective observation. This rejuvenated inspiration resulted in a profound transformation of style, from the subjective and mystical incantations to his famous Ding-Gedichte, or thing-poems, that were published in the New Poems.