Analysis of On Religion

Kahlil Gibran 1883 (Bsharri, Mount Lebanon Mutasarrifate) – 1931 ( New York City)



And an old priest said, Speak to us of Religion.
     And he said:
     Have I spoken this day of aught else?
     Is not religion all deeds and all reflection,
     And that which is neither deed nor reflection, but a wonder and a surprise ever springing in the soul, even while the hand hew the stone or tend the loom?
     Who can separate his faith from his actions, or his belief from his occupations?
     Who can spread his hours before him, saying, “This for God and this for myself’ This for my soul, and this other for my body?”
     All your hours are wings that beat through space from self to self.

He who wears his morality but as his best garment were better naked.
     The wind and the sun will tear no holes in his skin.
     And he who defines his conduct by ethics imprisons his song-bird in a cage.
     The freest song comes not through bars and wires.
     And he to whom worshipping is a window, to open but also to shut, has not yet visited the house of his soul whose windows are from dawn to dawn.

Your daily life is your temple and your religion.
     Whenever you enter into it take with you your all.
     Take the plough and the forge and the mallet and the lute,
     The things you have fashioned in necessity or for delight.

For in revery you cannot rise above your achievements nor fall lower than your failures.
     And take with you all men:
     For in adoration you cannot fly higher than their hopes nor humble yourself lower than their despair.

And if you would know God be not therefore a solver of riddles.
     Rather look about you and you shall see Him playing with your children.
     And look into space; you shall see Him walking in the cloud, outstretching His arms in the lightning and descending in rain.
      You shall see Him smiling in flowers, then rising and waving His hands in trees.


Scheme AXXAXXXX XXXBX AXXX BXX XAXX
Poetic Form
Metre 011111111010 011 111011111 110101101010 01111011010101000011010001101011011101 1110111110110111010 111110011101110111111101101110 11101111111111 1111010011111001010 010011111011 01101101110010111001 01011111010 01111001010110110111111000111111011111 1101111001010 01011001111111 1010010010001 011110001001101 101110101101011101110 011111 1001011011011111001101101 011111111010110 10101101111101110 010111111100011110010001001 1111100101100101101
Characters 1,848
Words 332
Sentences 20
Stanzas 5
Stanza Lengths 8, 5, 4, 3, 4
Lines Amount 24
Letters per line (avg) 57
Words per line (avg) 14
Letters per stanza (avg) 276
Words per stanza (avg) 66
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Submitted by halel on July 13, 2020

Modified on March 05, 2023

1:39 min read
29

Kahlil Gibran

Gibran Khalil Gibran (Arabic: جبران خليل جبران‎, ALA-LC: Jubrān Khalīl Jubrān, pronounced [ʒʊˈbraːn xaˈliːl ʒʊˈbraːn], or Jibrān Khalīl Jibrān, pronounced [ʒɪˈbraːn xaˈliːl ʒɪˈbraːn]; January 6, 1883 – April 10, 1931), usually referred to in English as Kahlil Gibran (pronounced kah-LEEL ji-BRAHN), was a Lebanese-American writer, poet and visual artist, also considered a philosopher although he himself rejected the title. He is best known as the author of The Prophet, which was first published in the United States in 1923 and has since become one of the best-selling books of all time, having been translated into more than 100 languages. Born in a village of the Ottoman-ruled Mount Lebanon Mutasarrifate to a Maronite family, the young Gibran immigrated with his mother and siblings to the United States in 1895. As his mother worked as a seamstress, he was enrolled at a school in Boston, where his creative abilities were quickly noticed by a teacher who presented him to photographer and publisher F. Holland Day. Gibran was sent back to his native land by his family at the age of fifteen to enroll at the Collège de la Sagesse in Beirut. Returning to Boston upon his youngest sister's death in 1902, he lost his older half-brother and his mother the following year, seemingly relying afterwards on his remaining sister's income from her work at a dressmaker's shop for some time. In 1904, Gibran's drawings were displayed for the first time at Day's studio in Boston, and his first book in Arabic was published in 1905 in New York City. With the financial help of a newly met benefactress, Mary Haskell, Gibran studied art in Paris from 1908 to 1910. While there, he came in contact with Syrian political thinkers promoting rebellion in the Ottoman Empire after the Young Turk Revolution; some of Gibran's writings, voicing the same ideas as well as anti-clericalism, would eventually be banned by the Ottoman authorities. In 1911, Gibran settled in New York, where his first book in English, The Madman, would be published by Alfred A. Knopf in 1918, with writing of The Prophet or The Earth Gods also underway. His visual artwork was shown at Montross Gallery in 1914, and at the galleries of M. Knoedler & Co. in 1917. He had also been corresponding remarkably with May Ziadeh since 1912. In 1920, Gibran re-founded the Pen League with fellow Mahjari poets. By the time of his death at the age of 48 from cirrhosis and incipient tuberculosis in one lung, he had achieved literary fame on "both sides of the Atlantic Ocean," and The Prophet had already been translated into German and French. His body was transferred to his birth village of Bsharri (in present-day Lebanon), to which he had bequeathed all future royalties on his books, and where a museum dedicated to his works now stands. As worded by Suheil Bushrui and Joe Jenkins, Gibran's life has been described as one "often caught between Nietzschean rebellion, Blakean pantheism and Sufi mysticism." Gibran discussed different themes in his writings, and explored diverse literary forms. Salma Khadra Jayyusi has called him "the single most important influence on Arabic poetry and literature during the first half of [the twentieth] century," and he is still celebrated as a literary hero in Lebanon. At the same time, "most of Gibran's paintings expressed his personal vision, incorporating spiritual and mythological symbolism," with art critic Alice Raphael recognizing in the painter a classicist, whose work owed "more to the findings of Da Vinci than it [did] to any modern insurgent." His "prodigious body of work" has been described as "an artistic legacy to people of all nations."  more…

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