Afflatus is a Latin term derived from Cicero (in De Natura Deorum (The Nature of the Gods)) that has been translated as "inspiration." Cicero's usage was a literalizing of "inspiration," which had already become figurative. As "inspiration" came to mean simply the gathering of a new idea, Cicero reiterated the idea of a rush of unexpected breath, a powerful force that would render the poet helpless and unaware of its origin.
Literally, the Latin "afflatus" means "to blow upon/toward". It was originally spelt "adflatus," made up of "ad" (to) and "flatus" (blowing/breathing), the noun form of "flāre" (to blow). It can be taken to mean "to be blown upon" by a divine wind, not unlike its English equivalent "inspiration," which comes from "inspire," meaning "to breathe/blow onto".
In English, "afflatus" is used for this literal form of inspiration. It generally refers not to the usual sudden originality, but to the staggering and stunning blow of a new idea, an idea that the recipient may be unable to explain. In Romantic literature and criticism, in particular, the usage of "afflatus" was revived for the mystical form of poetic inspiration tied to "genius", such as the story Coleridge offered for the composition of Kubla Khan. The frequent usage of the Aeolian harp as a symbol for the poet was a play on the renewed emphasis on afflatus.
Eu vim-me embora
E na hora cantou um passarinho
Porque eu vim sozinho
Eu, a viola e Deus
Vim parando assustado, espantado
Com as pedras do caminho
Cheguei bem cedinho
A viola, eu e Deus
Esperando encontrar o amor
Que é das velhas toadas canções
Feito as modas da gente cantar
Nas quebradas dos grandes sertões
A poeira do velho estradão
Deixou marcas no meu coração
E nas palmas da mão e do pé
Os catiras de uma mulher, ei...
Essa hora da gente ir-se embora é doída
Como é dolorida,
Eu, a viola e Deus
Eu vou-me embora
E na hora vai cantar um passarinho
Porque eu vou sozinho
Eu, a viola e Deus
Vou parando assustado, espantado
Com as pedras do caminho
Vou chegar cedinho
A viola, eu e Deus