On Crime and Punishment

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



Then one of the judges of the city stood forth and said, Speak to us of Crime and Punishment.
     And he answered, saying:
     It is when your spirit goes wandering upon the wind,
     That you, alone and unguarded, commit a wrong unto others and therefore unto yourself.
     And for that wrong committed must you knock and wait a while unheeded at the gate of the blessed.
     
     Like the ocean is your god-self;
     It remains for ever undefiled.
     And like the ether it lifts but the winged.
     Even like the sun is your god-self;
     It knows not the ways of the mole nor seeks it the holes of the serpent.
     But your god-self dwells not alone in your being.
     Much in you is still man, and much in you is not yet man,
     But a shapeless pigmy that walks asleep in the mist searching for its own awakening.
     And of the man in you would I now speak.
     For it is he and not your god-self nor the pigmy in the mist, that knows crime and the punishment of crime.

     Oftentimes have I heard you speak of one who commits a wrong as though he were not one of you, but a stranger unto you and an intruder upon your world.
     But I say that even as the holy and the righteous cannot rise beyond the highest which his in each one of you,
     So the wicked and the weak cannot fall lower than the lowest which is in you also.
     And as a single leaf turns not yellow but with the silent knowledge of the whole tree,
     So the wrong-doer cannot do wrong without the hidden will of you all.
     Like a procession you walk together towards your god-self.
     You are the way and the wayfarers.
     And when one of you falls down he falls for those behind him, a caution against the stumbling stone.
     Ay, and he falls for those ahead of him, who though faster and surer of foot, yet removed not the stumbling stone.

     And this also, though the word lie heavy upon your hearts:
     The murdered is not unaccountable for his own murder,
     And the robbed is not blameless in being robbed.
     The righteous is not innocent of the deeds of the wicked,
     And the white-handed is not clean in the doings of the felon.
     Yea, the guilty is oftentimes the victim of the injured,
     And still more often the condemned is the burden bearer for the guiltless and unblamed.
     You cannot separate the just from the unjust and the good from the wicked;
     For they stand together before the face of the sun even as the black thread and the white are woven together.
     And when the black thread breaks the weaver shall look into the whole cloth, and he shall examine the loom also.

    If any of you would bring to judgement the unfaithful wife,
     Let him also weigh the heart of her husband in scales, and measure his soul with measurements.
     And let him who would lash the offender look unto the spirit of the offended.
     And if any of you would punish in the name of righteousness and lay the ax unto the evil tree, let him see to its roots;
     And verily he will find the roots of the good and the bad, the fruitful and the fruitless, all entwined together in the silent heart of the earth.
     And you judges who would be just,
     What judgement pronounce you upon him who though honest in the flesh yet is the thief in spirit?
     What penalty lay you upon him who slays in the flesh yet is himself slain in the spirit?
     And how prosecute you him who in action is a deceiver and an oppressor,
     Yet who also is aggrieved and outraged?

     And how shall you punish those whose remorse is already greater than their misdeeds?
     Is not remorse the justice which is administered by that very law which you would fain serve?
     Yet you cannot lay remorse upon the innocent nor lift it from the heart of the guilty.
     Unbidden shall it call in the night, that men may wake and gaze upon themselves.
     And you who would understand justice, how shall you unless you look upon all deeds in the fullness of light?
     Only then shall you know that the erect and the fallen are but one man standing in twilight between the night of his pigmy-self and the day of his god-self,
     And that the corner-stone of the temple is not higher than the lowest stone in its foundation.
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Submitted by halel on July 13, 2020

Modified on April 23, 2023

3:48 min read
123

Quick analysis:

Scheme ABXCX CAXCABXBXX XXDEXCDFF XGXHIXAHGD XXHXXXJJGX XXEXXCI
Characters 4,199
Words 761
Stanzas 6
Stanza Lengths 5, 10, 9, 10, 10, 7

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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