The psychographics of Divaldo Franco (8)

Could he be nominated for a Nobel Prize for Literature?

(Second and final Part)

To continue with the comparison of the works of the writer Tagore with the works of the Spirit Tagore through the mediumship of Mr. Divaldo Franco, in the last article we analysed literally only one of the verses of one of his books as a writer, the Gitanjâ Li (which means Lyric Offering), as well as another verse of the mediumistic work entitled Esthesia.

We shall now look at another verse of Gitanjâ Li,  the one numbered 100, and also another verse the book Esthesia, verse 27, recognising also its poetry and magic: 

I dive deep into the abyss of the ocean of forms, in the hope of obtaining the perfect pearl of that which has no form.

There is no more navigating from port to port in this, my flagellate boat through the storm. The time in which my entertainment was lulled by the waves has gone. And now I long to die within that which does not die. In the hall of hearing, next to the bottomless abyss where the music of soundless cords flourish, I will hold onto this harp of my life.

I will tune it to the notes of the eternal. I will place my silent harp at the feet of silence. 

In the work Esthesia, verse 27, we find the same poetry:

I know that the fights for the ideal of truth are the legitimate.  

I have made myself helmsman of my boat to conduct destiny well and I sail through the sea of illusion.

The overcome storms brought me tiredness and the conquered distances enriched me with boredom.

Now, I feel my misfortune, take my rudder into your hands and ask me to trust.

That which I should have done, you will do it in an instant. You turn off my flickering lamp and light up your sun of immortality on my body that falls inert. This journey will be of quick course and of duration without limit through the new ocean through where you take me, my love, my eternal truth, and I become calm AND HAPPY. 

Now we carry out a grammatical and literary analysis of verse 110 of Gitanjâ Li and of verse 27 of Esthesia: 

By starting on verse 100 of Gitanjâ Li:

I dive deep into the abyss of the ocean (substantive) of forms, in the hope (substantive) to obtain the perfect (adjective) pearl of that which has no form.

There no more navigating (verb) from port to port in this my flagellate boat (substantive) through the storm. The time (substantive) in which my entertainment was lulled by the waves has gone. And now I long to die (verb) within that which does not die (verb).

At the hall of hearing, next to the bottomless abyss where the music (substantive) of soundless (substantive) cords (substantive) flourish, I will hold onto this harp of my life. 

I will tune it to the notes of the eternal (adjective). I will place my silent (adjective) harp (substantive) at the feet (substantive) of the silence. 

Nineteen main words were found in the verses of the psychographic works through Divaldo Franco, from Spirit Tagore. 

1.                BOAT

2.                TO TRUST

3.                BODY

4.                ETERNAL ( ADJECTIVE)

5.                HAPPY

6.                ILLUSION

7.                IMMORTALITY

8.                LAMP

9.                RUDDER

10.            FIGHTS

11.            LIGHT

12.            SEA

13.            NAVIGATE

14.            OCEAN(SUBSTANTIVE)

15.            SUN

16.            STORMS (SUBSTANTIVE)

17.            TRUTH

18.            TRUE

19.            JOURNEY. 

All these words are found in the psychographed book Esthesia, from the Spirit Tagore, in verse 3,56, 27 etc. 

By analysing verse 27 of the book Esthesia grammatically and literary, besides the same undeniable lyricism, we find the following coincidences of words, underlining the words that appear in other verse of Gitanjâ Li: 

I know that the fights for the ideal of truth (metaphor) are the legitimate.  

I have made myself helmsman of my boat to conduct the destiny (metaphor) well and I sail (verb) through the sea of illusion (metaphor). 

The overcome storms (substantive) brought me tiredness (metaphor) and the conquered distances enriched me with boredom (metaphor). 

Now, I feel my misfortune, take my rudder (metaphor) into your hands and ask me to trust. 

That which I should have done, you will do it in an instant. You turn off my flickering lamp (metaphor) and light up your sun of immortality on my body that falls inert (metaphor). This journey will be of quick course and of duration without limit (metaphor) through the new ocean (substantive)through where you take me (metaphor), my love, my eternal truth (adjective), and I become calm AND HAPPY. 

AT LEAST TEN METAPHORS WERE FOUND IN VERSE 27 OF ESTHESIA, WRITTEN THROUGH PSYCHOGRAPHY: 

I know that the fights for the ideal of truth (metaphor) are the legitimate.  

I have made myself helmsman of my boat to conduct the destiny (metaphor) well and I sail through the sea of illusion (Metaphor). 

The overcome storms brought me tiredness (metaphor) and the conquered distances enriched me with boredom. (metaphor)

take my rudder (Metaphor) into your hands and ask me to trust. 

You turn off my flickering lamp (Metaphor)

and light up your sun of immortality on my body that falls inert (Metaphor).

This journey will be of quick course and of duration without limit (Metaphor)

through the new ocean through where you conduct (Metaphor) me, my love, my eternal truth, and I become calm and happy. 

Verse 45 of the book Esthesia is interesting. Here we find the same rare adjective which is also in verse 68 of Gitanjâ Li. This referred to adjective is very much less known and used (in Portuguese language), and is the adjective impervious, that means unsuitable for transit. 

Let’s see, Esthesia, verse 45:  

In longing I have searched for You through the impervious (Adjective) thicket and, when I arrive... 

We ought to remember that these coincidences in grammatical and literary comparison between the writer Tagore (when incarnated) and the Spirit Tagore occur equally in other works of the Spirit Tagore which have been psychographed by Divaldo Franco, when they are compared to other books by the writer Tagore. In the small work, for example, Lost Birds, by the writer Tagore, composed of several short verses with a few lines; these birds represent the melodies, the songs of the heart, and the feelings of the poet. Comparing this book with the book Lost Birds, of the Spirit Tagore, psychographed by the medium Divaldo Franco, we find the same findings as a continuation of the work Lost birds. The birds became really free, as the poem became more developed, for its verses occupied many pages and they were not short verses; and the vocabulary and the lyricism became repeated.

In face of this analytical study of the work of Spirit Tagore through Divaldo Franco, with the works of the writer Tagore, we conclude that through the existence of many incredible literary and grammatical coincidences and the same metaphorical and poetical lyricism, that these coincidences cannot go unnoticed.

We must highlight that this type of grammatical and literary comparison was carried out with the works of other Spirits who communicate through Divaldo Franco.

The conclusion is that a more in depth study needs to be carried out by those who deny the survival of the soul after death and of the possibility of them to communicate through mediums, before they continue to deny the immortality of the soul hypothesis.

Unfortunately, from the several books psychographed by Divaldo Franco translated to more than fifteen languages, the three ones automatically written by Tagore have not still been translated into English, otherwise we certainly would even refer them to the Academy of Stockholm in Sweden, nominating the medium Divaldo Franco deservedly for the Nobel Prize of Literature, only to find out what the outcome would be...