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...
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