The Poetry of Kahlil Gibran Essay Example

well-liked poet.

The fact that opinions of Gibran's works vary greatly from praise to criticism is compounded by the fact that he defied all criticism. His works have inspired millions of people worldwide, regardless of age, and the recent renewed interest in his life and works shows that his ideas continue to have a lasting impact in the English-speaking world and beyond. One reason for the criticism may be the philosophical nature and prophetic quality of Gibran's literature. The use of philosophical literature, particularly quotes from Asian or Indian origins, is widely spread and embraced in Western culture. These mantras and quotes are commonly found in daily diaries and are often referenced in public events. Additionally, the abstract nature of the spiritual messages may not resonate completely with the Western mindset.

In his 1949 article 'The Thoughts of a Mystic', Robert Hillyer argues that Lebanese-born Gibran effectively incorporates elements of the orient into his writing to explore abstract and universal themes that Western writers are unable to tackle. According to Hillyer, Gibran's writings resonate with sensitive and emotional readers who derive pleasure from immersing themselves in enigmatic and indeterminate moods that transport them beyond the mundane concerns of daily life. Hillyer suggests that no Western writer discussing lofty concepts would be able to achieve the same level of authenticity as Gibran.

But these philosophical quotes, originating from the East, not only seem fitting but also possess an exotic allure. Although this enchanting magic is transient and lacking in substance, it is not harmful. This immense popularity of Gibran's philosophical quotes is reflected in his worldwide fame. It is undeniable that The Prophet

is one of the most widely read books of the century, and Gibran's reputation continues to soar like never before. Nonetheless, The Prophet occupies a perplexing position in English and American literature, which has thus far prevented it from receiving serious critical analysis in the Western world.

According to Bushrui (287), Gibran's work does not fit neatly into a specific literary or philosophical tradition, as it is a combination of both. Additionally, it is difficult to categorize his work as either Arab or English, meaning it encompasses both Eastern and Western influences. Gibran's reinterpretation of religion includes the incorporation of Christian imagery, such as in his stories about Jesus in "Jesus the Son of Man." Imangulieva (79) states that religion in Gibran's book "The Prophet" goes beyond Christianity or Islam. El-Hage suggests that Gibran's adopted language, English, enriches the language with a similar style and thought found in certain biblical books. This can be heard in the poetic and proverbial sounding poems in "Sand and Foam," as well as in stories about Jesus in "The Prophet," like "Jesus the Son of Man." Irwin (26) connects this writing style to Gibran's prophetic messages, describing it as a mock-Biblical delivery with archaisms and inversions of word-order for rhetorical effect. Omri believes that this biblical style adds to the literature's universality and accessibility, contributing to its success."The appeal of this book lies in its ability to be written by anyone, similar to what is done with scripture. It simply exists." (BBC News) Gibran also modifies some of the language used in the gospels, as seen in St. Matthew's interpretation of the Sermon on the Mount: "Blessed are

those who have a calm spirit. Blessed are those who are not bound by possessions, as they will experience freedom. Blessed are those who remember their pain and await joy in their pain." (Bushrui 264) This clearly shows that Gibran intentionally incorporates this style of language to give his work a deeper meaning. However, O'Connor (Leb.net) believes that it is Gibran's unconventional approach to religion that strongly influences the contradictory statements in his work. Singer, also in O'Connor (Leb.net), argues that "He (Gibran) lacks consistency and does not make any attempt to systematically explore his subject." "Like all renowned authors, Gibran's writing is characterized by a distinctive style for which he is celebrated."

The distinctive and unique Gibranian style, marked by its consistent use of parallelisms and contrasting declarations (Hawi 82) (Hawi 77)”_x005F_x001D_. (O’_x005F_x0019_Connor 2), often disturbed Western and English critics with a Christian worldview. The non-conformist manner in which Gibran approached religion possibly contributed to their rejection of his work. His deviation from conventional poetry norms in terms of language usage, rhetorical devices, and thematic elements might have been a significant factor.

Should the proposition prove to be accurate, our initial approach should involve posing some inquiries - what constitutes poetry? - What makes up the features of a poem? Authors such as James Joyce, who harbor an intense interest in language and meticulously select each word using linguistic nuances and tone to intensify their meanings, explore this topic in their works. In his semi-autobiographical narrative A Portrait of the Artist as a Young Man, the main character Stephen Daedalus contemplates: “_x005F_x001C_Words, could it be about their hues? No, it isn't about

their hues; rather it's more focused on equilibrium and congruity within the sentence itself.

According to Wainwright, does he prefer the rhythmic rise and fall of words over their associations of legend and color? Wainwright believes that poetry has distinct formal aspects such as different poetic voices, measured and free poetic lines, rhyme, and stanza. Many critics consider these formal aspects to be the standard criteria for poetry. This emphasis on words as both a medium and a message is a feature of poetry that critics argue Gibran's poetry lacks. He often expresses his philosophical thoughts in simplified language to effectively communicate messages to readers.

Poetry, in the eyes of some individuals, is a conduit for expressing emotions and building bridges with readers, instead of being merely an art of literary techniques. According to Henry David Thoreau's perspective, skillful poetry seems natural and effortless, creating the deceptive notion that anyone could produce it. Gibran admitted in his work Sand and Foam (1926) that while some of his words may seem insignificant, they play an important role in conveying substantial content to his audience. Whitman proposed that poets are not just scribes weaving verses but seers paving the way for things yet unseen. These views underline the intricate nature and varied essence resident within poetry which makes defining it precisely quite challenging. Even if Gibran's style might lack meticulous attention to detail characteristic of certain poetic definitions, it persists in offering insight and pursuit of truth without excessive linguistic embellishment. In The Poet, Gibran characterizes poetry as a fusion of joy, pain, wonderment interspersed with elements from lexicography - emphasizing the importance dictionary plays

within this concoction.

Critics of Gibran’s work, such as Walbridge, argue that his English prose was pretentious and that his ideas were excessively mystical or trite. Additionally, Walbridge claims that painting, not poetry, was the main focus of Gibran's life. However, Simonides disagrees and believes that painting and poetry are connected and harmonized. He states that "Painting is silent poetry, and poetry is painting with the gift of speech." Despite this debate, it is clear that strong imagery is a prominent feature in Gibran's work. For example, in poems like "The Dying Man" and "The Vulture," references to the Greek myth of Tityos being fed upon by a vulture create vivid and unsettling images. The poet's willingness to sacrifice himself freely for the vulture's consumption is portrayed dramatically: "Approach, my hungry comrade; The board is made ready, And the fare, frugal and spare, Is given with love."

Come, and explore the left side with your beak here. This poem exemplifies Gibran's powerful poetry, using various linguistic techniques praised by critics and poets alike. The Dying Man and the Vulture showcases traits of chiasmus in the lines "Stronger than all things Strong.. Feebler than all things feeble." (10 – 12). The first line repeats the word "wait," while the listing of "A" in sentences 15-19 demonstrates repetition.

The poetry in Gibran's work is subtle, as it prompts readers to make their own judgments and interpretations. O'Connor views this as a negative trait, stating that Gibran only acts as a moderator without openly expressing his own opinions. However, Omri believes that this sense of anonymity contributes to the poetry's universal appeal. Many people who read or

receive "The Prophet" may not know or care about Gibran as an individual. This is likely due to Gibran's writing style and choice of language. Despite not conforming to literary conventions, poetry that resonates with the masses is considered effective. Naimy, a contemporary of Gibran, believed that "The Broken Wings" exemplified the universal language of literature. A Mitchell argues that most people ignore poetry because it does not connect with them. It can be argued that Gibran is a poet of the people, unconcerned with highbrow literary criticism and focused only on the emotional and spiritual impact his work has on readers. By giving pause for reflection, poetry allows us to contemplate our existence as human beings on this planet and our relationships with one another.According to R. Dove, the poetry of Gibran forces us to pause and contemplate. Specifically, his poems found in Sand and Foam possess a profound and stimulating quality, characterized by ambiguity and a hint of mysticism. Gibran received high acclaim from George Russel, who compared his voice in The Prophet to the beauty found within "the Gitanjali" of Rabindranath Tagore. Russel further expressed his admiration by stating that he could glean a beautiful and freeing thought from every page of Gibran's work.

Bragdon also admired Gibran's power and believed it came from a great spiritual source. Both Bragdon and Gibran agree that the true completion of Gibran's work occurs when it is read and connects with the reader. Gibran himself realized the importance of others and saw his own self as insignificant. The meaning of Gibran's poetry, therefore, is subjective and dependent on the reader. Gibran's work demonstrates skillful

use of language and literary devices that are typical of good literature. His poetry often takes on a blank form with irregular stanzas and varying lengths. It does not follow a specific rhyme scheme or meter but is instead considered to have "free rhythm" by Wainwright.

Even though these norms may not be completely met, particularly in the eyes of English critics, a range of other poetic devices and rhetorical figures can be found in literature. These standards of language are evident in Gibran's poetry. For example, repetition is employed in Song of Beauty and throughout A Tear and a Smile: "_x005F_x001C_I am the guide of love, I am the wine of the spirit, I am food to the heart. I am a rose; I open my heart.. "_x005F_x001D_ (I. 1 –_x005F_x0013_ 5)

The potency of this rhetorical device is apparent in poems such as Defeat, where each of its six verses commences with the phrase "Defeat my Defeat". This recurring expression instills a mournful ambiance, as the bard plaintively appeals to Defeat in a sorrowful tone. The technique of Chiasmus is employed in lines like "Only those beneath me can envy or hate me. I have never been envied nor hated; I am above no one. Only those above me can praise or belittle me. I have never been praised or belittled: I am now no one." Such strategic word placement and repetition impart an impression of profundity and sagacity to the poem.

The poet successfully employs profound differences between themes for creating a significant impact. This can be seen in the prose poem "A Smile and a Tear", where there's

an opposition of emotions and experiences. The poem sets serenity and joy against despair and tragedy, resulting in a strong impression. In The Beauty of Death, the poet delves into the topic of death, illustrating rituals carried out on the corpse post-death along with its embalmment process.

The imagery of the individual "Parting" from this world from the mountaintop is powerful, as is the description of the burial from the dead's perspective: "Dig me a grave, Dig my grave deep, That the flood bear not my bones to the valley." (VIII. 14-16) Nature itself is personified and worshiped by Gibran in a pantheistic light. "There is not one work by Gibran that is not also a hymn to nature... nature does not serve as a mere background but rather has its own persona, as if to see her and comprehend all things by itself." This sentimentality echoes the theme of nature found in the Romantic poetry of Wordsworth and Bryson. In A Tear and a Smile, nature comes to life with the sea singing, hillocks smiling, the ocean sighing, and the poet rising from the lake's heart and gliding upon the wings of air (Song of the wave/Song of the Rain). In Song of the Night, the hushed tones and assonance create a sensual backdrop for the theme of love. The alliteration of "Drouth of our desire" (Line 12) and terms like "pour," "soft," and "embrace" generate a sexual aura, with the poet's lust being "quenched."

The paragraph discusses the sensuality of language in Jonathan and how it connects Jesus to a woman's lover. It mentions W.H. Auden's definition of poetry and how Gibran's use

of language may not conform to the structured and refined use but still shows mastery. It also mentions the use of rhetorical tropes and literary devices in Gibran's work.

Gibran’s literature possesses a style that prompts contemplation of the issues he explores in a subtly powerful way, making the language insignificant. However, it is arguable that his work fits into the second category. Gibran’s work is deeply significant and often has a universal impact. Robert Frost also emphasizes the emotional and aesthetic impact of poetry. He states, “There are three things after all that a poem must reach: the eye, the ear, and what we may call the heart or the mind. It is most important of all to reach the heart of the reader.” Gibran has certainly achieved this. His poetry is powerful and touching, capable of resonating with audiences worldwide.

Works Cited:

Bushrui, S. and Jenkins, J. Kahlil Gibran Man and Poet. Oxford: Oneworld Publications, 1998.

Gibran, Kahlil. “The Madman”. Kahlil Gibran The Collected Works. London: Everyman’s Library, 2007.

Gibran, Kahlil. “The Prophet”. Kahlil Gibran The Collected Works. London: Everyman’s Library, 2007.

Gibran, Kahlil. “The Forerunner”. Kahlil Gibran The Collected Works. London: Everyman’s Library, 2007.

Gibran, Kahlil. "Sand and Foam". Kahlil Gibran The Collected Works. London: Everyman's Library, 2007. Gibran, Kahlil. "Jesus the Son of Man". Kahlil Gibran The Collected Works. London: Everyman's Library, 2007. Gibran, Kahlil. "The Wanderer". Kahlil Gibran The Collected Works. London: Everyman's Library, 2007. Gibran, Kahlil. "A Tear and a Smile". Kahlil Gibran The Collected Works. London: Everyman's Library, 2007. Gibran, K. Letter to May Haskell. Beloved Prophet: the love letters of Kahlil Gibran and Mary Haskell and her Private Journal.

Ed.

The text below includes references to various sources about Khalil Gibran. These sources include Virginia Hilu's book "Kahlil Gibran: His Background, Character, and Works" published by Quartet Books in London in 1973, an article titled "Thoughts of a Mystic" by R. Hillyer published in the New York Times on April 3, 1949, an article by Aida Imanguileva titled "Kahlil Gibran: The Development of the Romantic Method. Gibran, Rihani and Naimy: East-West Interactions in Early Twentieth Century Arab Literature" published by Anqua Publishing in Oxford in 2010, an article titled "I am a false alarm" by R. Irwin published in the London Review of Books on September 3, 1998, and an article by N. Naimy titled "The Mind and Thought of Khalil Gibran" published in the Journal of Arabic Literature.The text includes the following and their contents:
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Vol. 5. (1974): 55–_x005F_x0013_77. Print. O’_x005F_x0019_Connor, Jennifer. “_x005F_x001C_An Analysis of the Antithetical Element in the Writings of Kahlil Gibran”_x005F_x001D_. Leb. net. 1998. Web. 7th May 2013. Shoku, A. and Hegarty, S. “_x005F_x001C_Kahlil Gibran's The Prophet: Why is it so loved? ”_x005F_x001D_. BBC News. 12th May 2012 Web. 11th December 2012. . Walbridge, John. "Gibran, his Aesthetic, and his Moral Universe". Juan Cole's Khalil Gibran Page –_x005F_x0013_ Writings, Paintings, Hotlinks, New Translations. January 1998. Web. 5th May 2013. Wainwright, J. “_x005F_x001C_Preface”_x005F_x001D_. Poetry the Basics. Second ed. London: Routledge, 2011. xix.