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Cristianesimo · Mistica cristiana · Sufismo

Kahlil Gibran

جبران خليل جبران

1883 – 1931Persona storicamente documentata

Poeta, saggista e pittore libanese emigrato negli Stati Uniti (1883-1931). Scrisse in arabo racconti, poemi in prosa e saggi che rinnovarono la letteratura del Mahjar, e in inglese libri di parabole e aforismi. La sua opera più celebre, Il Profeta (1923), riunisce ventisei discorsi sull'amore, il lavoro, la libertà o la morte ed è uno dei libri più tradotti del Novecento. Presiedette la Lega della Penna a New York.

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Khalil Gibran en 1913

Khalil Gibran en 1913 · Public domain

Con le sue parole

«Your children are not your children. They are the sons and daughters of Life’s longing for itself.»

The Prophet (1923), «On Children»

La sua idea centrale

Almustafa and the prophetic voice: Gibran does not present himself as a prophet: he creates one.

Biografia

5 min di lettura

Traduzione assistita dall'originale spagnolo, in attesa di revisione da parte di un traduttore madrelingua.

Bsharri, ai piedi dei cedri

Gibran Khalil Gibran nacque il 6 gennaio 1883 a Bsharri, un villaggio maronita arroccato sopra la valle della Qadisha, sul Monte Libano, che era allora un mutasarrifato autonomo dell'Impero ottomano. La madre, Kamila Rahmeh, figlia di un sacerdote, portava al matrimonio un figlio nato da un'unione precedente, Butros; il padre, Khalil, uomo dal carattere difficile e indebitato per il gioco, fu incarcerato nel 1891 con l'accusa di malversazione mentre era esattore delle imposte, e i beni della famiglia furono pignorati. L'infanzia del futuro poeta trascorse tra la povertà, la scuola parrocchiale — dove apprese i rudimenti dell'arabo e del siriaco — e un paesaggio di gole, cedri e monasteri che sarebbe riapparso, trasfigurato, in quasi tutto ciò che scrisse.

Boston e lo sguardo degli altri

Nel giugno 1895 Kamila prese una decisione inaudita per una donna del suo ambiente: emigrare negli Stati Uniti con i quattro figli, lasciandosi alle spalle il marito. La famiglia si stabilì nel South End di Boston, uno dei maggiori quartieri di immigrati siro-libanesi del paese. Il ragazzo fu iscritto alla scuola Josiah Quincy con la grafia inglese «Kahlil Gibran», che avrebbe sempre conservato, e cominciò a disegnare presso la casa di accoglienza di Denison House. Le sue maestre lo presentarono al fotografo ed editore Fred Holland Day, figura centrale dell'estetismo bostoniano, che lo ritrasse in abiti orientali, gli prestò libri e gli aprì le porte di un mondo artistico che un ragazzo della sua origine difficilmente avrebbe raggiunto da solo.

Tra Beirut e il lutto

Temendo che dimenticasse le proprie radici, la famiglia lo mandò nel 1898 a Beirut a studiare nel collegio maronita della Sapienza (Madrasat al-Hikma), dove si formò nella lingua e nella letteratura arabe. Tornò a Boston nel 1902, quando seppe che la sorella minore, Sultana, era morta di tubercolosi. Nei mesi seguenti perse il fratellastro Butros, vittima della stessa malattia, e la madre, morta di cancro nel giugno 1903. A vent'anni rimase solo con la sorella Marianna, che mantenne entrambi con il suo lavoro di sarta. I biografi concordano nel ritenere che quel triplice lutto abbia fissato il tono elegiaco della sua prima opera.

Mary Haskell e Parigi

Nel 1904 espose per la prima volta i suoi disegni nello studio di Day, e lì conobbe Mary Haskell, direttrice di una scuola femminile di Boston, di nove anni più grande di lui. Fu l'incontro decisivo della sua vita: Haskell finanziò la sua formazione, discusse con lui ogni idea e rivide per anni, frase per frase, l'inglese dei suoi libri. I diari di lei e la corrispondenza tra i due, pubblicati nel 1972 con il titolo Beloved Prophet, sono la fonte più ricca sull'uomo nella sua intimità. Grazie a lei trascorse a Parigi gli anni dal 1908 al 1910, prima all'Académie Julian e poi nell'atelier del simbolista Pierre Marcel-Béronneau. Nel frattempo pubblicava in arabo: un breve saggio sulla musica (1905), i racconti delle Ninfe della valle (1906) e Spiriti ribelli (1908), un atto d'accusa contro il potere ecclesiastico e feudale che, secondo quanto raccontò anni dopo Barbara Young, fu bruciato sulla pubblica piazza di Beirut.

New York e la Lega della Penna

Nel 1911 si stabilì in uno studio del Tenth Street Studio Building di New York, che chiamava «l'Eremo» e dove visse fino alla morte. L'anno seguente pubblicò Le ali spezzate, un breve romanzo sull'amore impossibile in una società dominata dal clero e dai notabili, e avviò la corrispondenza con la scrittrice May Ziadeh, che viveva al Cairo: durò quasi vent'anni, senza che i due si incontrassero mai. Nel 1914 uscì Una lacrima e un sorriso, che raccoglieva i poemi in prosa apparsi sulla stampa dell'emigrazione. Durante la prima guerra mondiale lavorò nel comitato di soccorso alle vittime della carestia del Monte Libano e nel 1920 rifondò con Nasib Arida, Abd al-Masih Haddad, Mikhail Naimy e altri scrittori emigrati la Lega della Penna (al-Rabita al-Qalamiyya), che rinnovò la lingua poetica araba dall'esilio americano.

Il Profeta

Dal 1918 scrisse soprattutto in inglese. Alfred A. Knopf pubblicò quell'anno Il folle, una raccolta di parabole, e poi Il precursore (1920). Nel 1923 uscì Il Profeta: ventisei discorsi in prosa poetica che Almustafa, un saggio che da dodici anni attende la nave che dovrà riportarlo alla sua isola natale, rivolge agli abitanti della città di Orphalese sull'amore, il matrimonio, i figli, il lavoro, il dolore, la libertà o la morte. La critica lo accolse con freddezza, ma il libro non ha mai smesso di essere ristampato ed è stato tradotto in più di cento lingue. Gibran lo illustrò di persona con acquerelli monocromi di corpi nudi e volti velati, debitori di William Blake e di Rodin.

Gli ultimi anni

Seguirono Sabbia e schiuma (1926), un libro di aforismi, e Gesù figlio dell'uomo (1928), in cui settantasette contemporanei immaginari — amici, nemici, discepoli — evocano Gesù. In questa fase poté contare sulla poetessa Barbara Young, che gli fece da segretaria senza compenso e che, dopo la sua morte, completò e pubblicò Il giardino del Profeta (1933). La salute di Gibran, che beveva in eccesso, si era deteriorata dalla fine degli anni Venti. Fu ricoverato al St. Vincent's Hospital di New York il 10 aprile 1931 e morì quello stesso giorno, a quarantotto anni; il certificato di morte indicò una cirrosi epatica con tubercolosi incipiente in un polmone. I biografi riferiscono che rifiutò gli ultimi sacramenti.

Ritorno alla montagna

La salma fu traslata in Libano nell'estate del 1931 e deposta nell'antico monastero di Mar Sarkis, a Bsharri, che la famiglia acquistò e che oggi è il Museo Gibran. Lasciò in eredità al villaggio natale i futuri diritti dei suoi libri negli Stati Uniti, e Mary Haskell donò nel 1950 quasi un centinaio delle sue opere figurative al Telfair Museum di Savannah. La critica accademica ha guardato con diffidenza al suo successo popolare, ma nella letteratura araba moderna il suo posto è indiscusso: Salma Khadra Jayyusi lo considerò l'influenza più importante sulla poesia araba della prima metà del Novecento. In Occidente Il Profeta fu il libro di culto della controcultura degli anni Sessanta e continua a essere letto a matrimoni e funerali, spesso senza che il lettore sappia nulla dell'emigrante maronita che lo scrisse.

Fonti: Bushrui, Suheil y Jenkins, Joe. Kahlil Gibran, Man and Poet: A New Biography. Oxford: Oneworld, 1998. · Gibran, Jean y Gibran, Kahlil. Kahlil Gibran: His Life and World. Boston: New York Graphic Society, 1974 (ed. rev. Nueva York: Interlink, 1991). · Waterfield, Robin. Prophet: The Life and Times of Kahlil Gibran. Londres: Allen Lane / Nueva York: St. Martin's Press, 1998. · Hilu, Virginia (ed.). Beloved Prophet: The Love Letters of Kahlil Gibran and Mary Haskell, and Her Private Journal. Nueva York: Alfred A. Knopf, 1972. · Naimy, Mikhail. Kahlil Gibran: A Biography. Nueva York: Philosophical Library, 1950 (orig. árabe, Beirut, 1934).

Cronologia

La vita, anno per anno

Ogni punto è un evento documentato. Fai clic per leggerlo, con la sua fonte e il suo grado di certezza.

  1. 6 gennaio 1883 · 0 anni

    Birth

    Jubran Khalil Jubran is born into a poor Maronite family in Bsharri, son of Khalil Jubran and Kamila Rahmeh.

    Documentato

  2. 1891 · 8 anni

    His father's imprisonment

    Khalil Jubran is imprisoned for embezzlement and the family property is seized; the mother decides to emigrate.

    Documentato

  3. 25 giugno 1895 · 12 anni

    Emigration to the United States

    Kamila leaves with Boutros, Jubran, Marianna and Sultana; the family settles in Boston's South End and the boy enters the Josiah Quincy School.

    Documentato

  4. 1896 · 13 anni

    F. Holland Day

    Through Denison House he meets the photographer and publisher Fred Holland Day, who photographs him and introduces him to Boston's artistic circles.

    Documentato

  5. 1898 – 1902 · 15 anni

    Studies in Beirut

    He enters the Maronite Collège de la Sagesse (Madrasat al-Hikma), studying Arabic and literature until 1902.

    Documentato

  6. 2 aprile 1902 · 19 anni

    Death of Sultana

    His younger sister dies of tuberculosis; Gibran returns to Boston. Boutros dies in March 1903 and his mother in June.

    Documentato

  7. gennaio 1904 · 21 anni

    First exhibition; Mary Haskell

    He exhibits drawings at Day's studio and meets Mary Haskell, who will become his patron, confidante and editor.

    Documentato

  8. 1905 · 22 anni

    First book in Arabic

    The press of the newspaper al-Muhajir publishes Nubdha fi fann al-musiqa, a short essay on music.

    Documentato

  9. luglio 1908 – 1910 · 25 anni

    Studies in Paris

    With Haskell's financial support he studies at the Académie Julian and then with Pierre Marcel-Béronneau, returning in October 1910. That year Spirits Rebellious is published.

    Documentato

  10. 1911 · 28 anni

    Settles in New York

    He settles in the Tenth Street Studio Building, in the studio he will call 'the Hermitage', where he lives until his death.

    Documentato

  11. 1912 · 29 anni

    The Broken Wings and May Ziadeh

    He publishes al-Ajniha al-mutakassira and sends a copy to May Ziadeh, beginning a correspondence of nearly twenty years without ever meeting her.

    Documentato

  12. 1918 · 35 anni

    The Madman

    His first book in English, published by Alfred A. Knopf, his publisher from then on.

    Documentato

  13. 1920 · 37 anni

    The Pen League

    With Nasib Arida, Abd al-Masih Haddad, Mikhail Naimy and other Mahjar writers he refounds the Pen League, of which he is president.

    Documentato

  14. settembre 1923 · 40 anni

    The Prophet

    Knopf publishes The Prophet, illustrated by the author. Lukewarm critical reception; enduring readership to this day.

    Probabile

  15. 1928 · 45 anni

    Jesus, the Son of Man

    He publishes his choral portrait of Jesus through seventy-seven imagined witnesses.

    Documentato

  16. 10 aprile 1931 · 48 anni

    Death

    He dies on the day of his admission; the recorded cause is cirrhosis of the liver with incipient tuberculosis.

    Documentato

  17. agosto 1931

    Burial at Mar Sarkis

    His remains reach Bsharri and rest in the former monastery of Mar Sarkis, now the Gibran Museum.

    Documentato

  18. 1933

    The Garden of the Prophet

    Barbara Young completes and publishes the posthumous book from the author's manuscripts.

    Documentato

  19. 1950

    Gift to the Telfair

    Mary Haskell Minis gives nearly a hundred of Gibran's artworks to the Telfair Museum.

    Documentato

  20. 1972

    Beloved Prophet

    Virginia Hilu publishes the letters of Gibran and Haskell and her journals, the principal source for his biography.

    Documentato

Opere

Opere essenziali

Le opere senza le quali non si comprende la sua eredità.

The Broken Wings — Kahlil Gibran

Opera scritta · 1912

The Broken Wings

الأجنحة المتكسرة

A short novel narrated by a young man who at eighteen falls in love with Selma Karamy in Beirut. The archbishop forces her father to marry her to his nephew, and their love burns out in secret meetings until Selma dies in childbirth. Regarded as one of the first modern romantic novels in Arabic, it is both an idealised autobiographical tale and an indictment of women's condition in Lebanese society.

4 edizioni

The Prophet — Kahlil Gibran

Opera scritta · 1923

The Prophet

Gibran's masterpiece. Almustafa, who has waited twelve years in the city of Orphalese for the ship that will take him home, answers before leaving the questions of the seeress Almitra and the townspeople on twenty-six subjects: love, marriage, children, giving, work, joy and sorrow, freedom, reason and passion, pain, friendship, prayer, beauty, religion and death. Rhythmic prose with biblical resonances, illustrated with twelve drawings by the author. Despite cool reviews it has never gone out of print since 1923 and has been translated into more than a hundred languages.

11 edizioni

Jesus, the Son of Man — Kahlil Gibran

Opera scritta · 1928

Jesus, the Son of Man

Jesus, the Son of Man: His Words and His Deeds as Told and Recorded by Those Who Knew Him

A choral portrait of Jesus through seventy-seven imagined testimonies—Peter, Mary Magdalene, Caiaphas, Pilate, a Lebanese shepherd, a Greek philosopher. Gibran presents a virile Jesus, poet and rebel, far from the 'lamb' of devotional imagery. Its genesis has been linked to the portrait he drew of ʿAbdu'l-Bahá in New York in 1912.

Non disponibile Vedi il libro

5 edizioni

Beloved Prophet — Kahlil Gibran

Corrispondenza · 1972

Beloved Prophet

Beloved Prophet: The Love Letters of Kahlil Gibran and Mary Haskell, and Her Private Journal

Virginia Hilu's edition of hundreds of letters exchanged by Gibran and Mary Haskell between 1908 and 1931, with extracts from her journal, in which she recorded their conversations word for word. It is the most important documentary source for his life, his working method and the making of The Prophet.

Non disponibile Vedi il libro

2 edizioni

Citazioni

Citazioni localizzate in un'opera precisa. Ciascuna porta con sé la sua provenienza e il suo grado di affidabilità.

Your children are not your children. They are the sons and daughters of Life’s longing for itself.

VerificataThe Prophet (1923), «On Children»

1 / 13
Citazioni apocrife o di attribuzione discussa (2)
  • «"If you love somebody, let them go, for if they return, they were always yours. And if they don't, they never were."»

    It circulates widely under Gibran's name, but it does not appear in The Prophet, The Madman, The Forerunner or Sand and Foam (checked against Project Gutenberg and Wikisource), nor in the anthologies of his Arabic work. It is an anonymous self-help maxim from the second half of the twentieth century.

  • «Kennedy's line 'Ask not what your country can do for you…' comes from Gibran.»

    In 'The New Frontier' (1925) Gibran contrasts those who ask what their country can do for them with those who ask what they can do for their country. The resemblance to the 1961 inaugural address is real, but there is no documentary proof that Kennedy or his speechwriters knew the text: it is a hypothesis, not a quotation.

Ultime parole

Non esistono testimonianze verificabili delle sue ultime parole.

No reliably attested last words exist. He died at St. Vincent's Hospital in New York on the night of 10 April 1931, a few hours after admission; Barbara Young, who was with him, left a devout account of those days (This Man from Lebanon, 1945), and later biographers report that he refused the last rites, but none records a verifiable final sentence.

Fonte: Young, Barbara. This Man from Lebanon: A Study of Kahlil Gibran. Nueva York: Alfred A. Knopf, 1945.

Chiedi

Ciò a cui risponde la sua opera

Dodici grandi domande dell'umanità e ciò che i suoi testi permettono di rispondere, con riferimenti. Non gli mettiamo mai parole in bocca.

  • Che cos'è l'Assoluto? Dio esiste?

    A God who plays with children and in whose heart we live

    Personale e impersonale insiemeSi deduce dalla sua dottrina

    Gibran built no theology, but his English work sketches a God at once intimate and cosmic. In The Prophet, Almustafa advises not to seek God as a solver of riddles: it is enough to look around to see Him playing with the children, walking in the clouds, smiling in the flowers and waving His hands in the trees. This God diffused in nature is also Someone in whom one dwells: when you love, the book says, do not say that God is in your heart, but rather that you are in the heart of God. Gibran also speaks of a divine self in each person, greater than the small self, towards which man grows. His Jesus, the Son of Man and his Arabic stories distrust churches that lock God into dogmas at the service of power.

    Confronta questa domanda con altri maestri
  • Chi sono io? Esiste un vero sé?

    A soul that unfolds like a lotus of countless petals

    Un'anima in evoluzioneLo dice espressamente

    In The Prophet, Gibran presents the self as a sea boundless and measureless, impossible to chart: whoever claims to have found the truth should say he has found a truth, because the soul walks upon all paths and unfolds itself like a lotus of countless petals. In man there coexist a divine self, comparable to the ocean or the sun, and a part that is not yet fully human, shapeless and clumsy, seeking its own awakening. Life consists in growing towards that greater self. And this growth does not end with death: in the book's farewell, Almustafa announces that after a brief rest upon the wind another woman shall bear him. Gibran thinks of the self as a process, not a finished substance.

    Confronta questa domanda con altri maestri
  • Perché soffriamo?

    Pain is the shell that breaks so that understanding may be born

    Il karma e l'apprendimento dell'animaLo dice espressamente

    In The Prophet, Gibran gives pain a meaning of growth: pain is the breaking of the shell that encloses understanding, like the stone of the fruit that must break so its heart may stand in the sun. Much of suffering, he adds, is self-chosen: it is the bitter potion by which the physician within heals the sick self. And sorrow enlarges: the deeper it carves into one's being, the more joy one can contain, for joy and sorrow are inseparable. The same Gibran, in his early Arabic stories, denounced the suffering inflicted by the clergy and the feudal lords on the poor and on the women of Lebanon. But in his mature work pain is above all a school of the soul.

    Confronta questa domanda con altri maestri
  • Che cosa accade dopo la morte?

    To die is to melt into the sun; and another woman shall bear me

    Rinascita secondo il karmaLo dice espressamente

    In The Prophet, when Almitra asks him about death, Almustafa replies that to know its secret one must seek it in the heart of life, for life and death are one, even as the river and the sea are one. To die is not to vanish but to stand naked in the wind and melt into the sun, to let the breath be freed from its restless tides so that it may seek God unencumbered. And in the book's farewell the prophet announces his return: a little while, a moment of rest upon the wind, and another woman shall bear him. Gibran thus combines two images, dissolution into the greater life and return to another existence, without fixing them in a doctrine. What there is not in his work is fear: death belongs to the same movement as life.

    Confronta questa domanda con altri maestri
  • Come si raggiunge la liberazione o la salvezza?

    Free when we break the chains we ourselves have forged

    Con la conoscenza direttaSi deduce dalla sua dottrina

    Gibran proposes no doctrine of salvation; what his work describes is an inner liberation. In The Prophet, Almustafa warns those who prostrate themselves before freedom that they will be free not when their days are without a care, but when cares girdle their life and yet they rise above them naked and unbound. The chains that weigh on them, he says, they have forged themselves, and what they would cast off is a fragment of their own self. The path is self-knowledge: the heart knows in silence the secrets of the days and the nights, and that knowledge must be allowed to reach words without trying to measure it. To be freed is to recognise the greater self waiting within and to stop identifying with the small one.

    Confronta questa domanda con altri maestri
  • Serve un maestro?

    The teacher only leads to the threshold of one's own mind

    Il maestro è dentroLo dice espressamente

    In The Prophet, when a teacher asks him to speak of teaching, Almustafa replies that no one can reveal to another anything but what already lies half asleep in the dawning of his own knowledge. The teacher who walks in the shadow of the temple among his followers gives not of his wisdom but of his faith and his lovingness; if he is indeed wise he does not bid you enter the house of his wisdom, but leads you to the threshold of your own mind. The vision of one lends not its wings to another: each must stand alone in his knowledge of God. Gibran, who lived surrounded by readers who treated him as a prophet, always distrusted that role; his Almustafa teaches and departs.

    Confronta questa domanda con altri maestri
  • Il mondo è reale?

    God walks in the clouds and waves His hands in the trees

    Manifestazione del divinoLo dice espressamente

    Gibran sees the world as a place of the divine. In The Prophet, whoever would know God need only look around: he will see Him playing with the children, walking in the cloud, outstretching His arms in the lightning and descending in rain, smiling in flowers and rising to wave His hands in trees. Daily life is the temple and the religion. This vision, heir to romanticism and mysticism, does not make the world an appearance: the earth, work, the body and love have a sacred value in his work, and beauty is almost a revelation; we live, says one of his aphorisms, only to discover it. What Gibran fights is not the world but the institutions that diminish it.

    Confronta questa domanda con altri maestri
  • Che cos'è l'amore?

    Love neither possesses nor would be possessed: we are in the heart of God

    Amore di Dio e del prossimoLo dice espressamente

    The chapter on love in The Prophet is Gibran's most widely read. Love crowns and crucifies, makes one grow and prunes; it gives naught but itself and takes naught but from itself; it possesses not nor would it be possessed, for love is sufficient unto love. Whoever loves must not think he can direct the course of love: it is love that, if it finds him worthy, directs his. And its origin is divine: when you love, says Almustafa, do not say that God is in your heart, but rather that you are in the heart of God. In marriage he asks that there be spaces in the togetherness. In Jesus, the Son of Man, love is also charity without frontiers towards the other, the poor and the enemy.

    Confronta questa domanda con altri maestri
  • Siamo liberi o è tutto determinato?

    You will be free by rising above your bonds, not by lacking them

    Un libero arbitrio realeSi deduce dalla sua dottrina

    Gibran does not discuss determinism in philosophical terms, but his work affirms a demanding inner freedom. In The Prophet, freedom does not consist in a life without cares but in rising above them unbound; the chains that weigh are usually those one has forged oneself. In the chapter on reason and passion, the soul is a ship that needs the rudder of reason and the sails of passion: man steers his course, though not the winds. Gibran also insists on shared responsibility: the righteous man is not wholly innocent of the deeds of the wicked, because all are part of one life. Freedom is real, but it is conquered and never purely individual.

    Confronta questa domanda con altri maestri
  • Perché meditare o pregare?

    I cannot teach you to pray in words: prayer is the expansion of oneself

    La meditazione non è una tecnicaLo dice espressamente

    In The Prophet, when a priestess asks him to speak of prayer, Almustafa answers that people pray in their distress and need, and he wishes they would pray also in the fullness of their joy. Prayer is not asking: it is the expansion of oneself into the living ether. Whoever enters the temple only to ask will receive nothing; it is enough to enter the temple invisible. And he adds that he cannot teach anyone to pray in words, for God listens to no words save those He Himself utters through our lips. In the chapter on religion he goes further: daily life is the temple and the religion, and whoever sets apart one hour for God and another for himself has understood nothing.

    Confronta questa domanda con altri maestri
  • Può la ragione conoscere l'ultimo?

    The heart knows in silence what reason merely steers

    L'ultimo è al di là della menteSi deduce dalla sua dottrina

    Gibran does not despise reason, but he places it. In The Prophet, reason and passion are the rudder and the sails of the seafaring soul: reason alone is a confining force, passion alone a flame that burns itself out; the soul must exalt reason to the height of passion so that it may sing. The deepest knowledge, however, is not reasoned. Your hearts, says Almustafa, know in silence the secrets of the days and the nights, and the ear thirsts to hear that knowledge; but the self is a sea without measure, and one should not try to sound it with a measuring rod. That is why whoever says he has found the truth should say he has found a truth.

    Confronta questa domanda con altri maestri
  • Ritirarsi dal mondo o trasformarlo?

    Work is love made visible, and tyranny must be denounced

    Impegnarsi nel mondoLo dice espressamente

    Gibran never preached withdrawal. His early Arabic stories, such as Spirits Rebellious, denounced the oppression exercised by the clergy and feudal lords over the peasants and women of Lebanon, and the book was badly received by the religious authorities. In New York he took part in the life of the Arab emigration, founded the Pen League with other writers and worked for relief to Syria and Mount Lebanon during the famine of the First World War. In The Prophet, spirituality is lived in work, marriage, the house and trade: work is love made visible, and whoever works without love would do better to sit at the temple gate and take alms.

    Confronta questa domanda con altri maestri

Aneddoti e racconti

Aneddoti e racconti

Documentato1896–1898

The boy in Holland Day's photographs

In 1896 a social worker at Denison House wrote to Fred Holland Day, the Pictorialist photographer and publisher of Copeland & Day, about a Syrian boy with a gift for drawing. Day, who was looking for 'exotic' models for his compositions, made the thirteen-year-old Gibran one of his sitters: he photographed him in a robe, holding a book, or seated on a leopard skin with a staff. But he did more than use him as a figure. He lent him books by the Symbolists and Maeterlinck, took him to exhibitions and commissioned drawings for book covers. The platinum prints from those sessions are now in the Library of Congress and the Metropolitan Museum: they are the earliest image of the poet and, at the same time, a record of how an immigrant child entered Boston's aesthetic avant-garde through the service door of Orientalism.

Origine del racconto: Account reconstructed by Jean and Kahlil Gibran from the correspondence of Day and Jessie Beale; the photographs are held by the Library of Congress (LCCN 95503209) and the Metropolitan Museum.

Fonte: Gibran, Jean y Gibran, Kahlil. Kahlil Gibran: His Life and World. Boston: New York Graphic Society, 1974 (ed. rev. Nueva York: Interlink, 1991).

Contestato1908

Spirits Rebellious on the bonfire

In 1908 Gibran published in New York four Arabic stories portraying bishops and emirs as accomplices in the oppression of peasants and women. One of them, 'Khalil the Heretic', tells of the expulsion of a young monk who denounces his monastery's greed. According to Barbara Young in 1945, the book was burned in the marketplace of Beirut by clerics who pronounced it 'dangerous, revolutionary, and poisonous to youth', and Gibran was supposedly informed of his excommunication. The story, repeated in almost every profile, has a firm part and an uncertain one: the scandal in Lebanon and the hostility of the Maronite clergy are well attested, and the Church let the rumour of excommunication circulate; but no formal sentence has been documented, and the public burning is known only from Young, who reports it decades later without citing witnesses.

Origine del racconto: The burning comes from Barbara Young, This Man from Lebanon (1945); Waterfield and Bushrui-Jenkins confirm the scandal but find no record of a formal excommunication.

Fonte: Young, Barbara. This Man from Lebanon: A Study of Kahlil Gibran. Nueva York: Alfred A. Knopf, 1945.

Documentato1908–1931

The editing evenings with Mary Haskell

For more than ten years, whenever Gibran travelled to Boston or Mary Haskell visited New York, the two sat down over the drafts of his English books. She, a teacher by profession, proposed changes of word, punctuation and order; he accepted some and vehemently defended others. Haskell recorded the conversations in her journal that same night, sometimes almost word for word, and so the birth of many passages of The Prophet was preserved. The journal also reveals the less edifying side: the 1910 marriage proposal, which she declined because of their age difference; Gibran's doubts about his own talent; his small inventions about a childhood nobler than it was. When Haskell married Jacob Florance Minis in 1926, the collaboration continued by letter. Gibran never knew those pages would be published.

Origine del racconto: Mary Haskell's journals and letters, held at the University of North Carolina and edited by Virginia Hilu in Beloved Prophet (1972).

Fonte: Hilu, Virginia (ed.). Beloved Prophet: The Love Letters of Kahlil Gibran and Mary Haskell, and Her Private Journal. Nueva York: Alfred A. Knopf, 1972.

Documentato1912–1931

Twenty years of letters without a meeting

In 1912 Gibran sent a copy of The Broken Wings to May Ziadeh, a young Palestinian-Lebanese writer who presided over one of the most celebrated literary salons of the Arab world in Cairo, and asked for her opinion. She replied with praise and reservations: she did not share the idea that love could justify breaking a marriage. So began a correspondence that lasted until Gibran's death. In his letters he tells her of his paintings, his fatigue, his fear of death, and in 1919 he dares to write that he loves her; she sometimes signs with a reticence that leaves the door ajar. They never met. On hearing of his death Ziadeh entered a crisis that years later led to her confinement in a Beirut sanatorium. Of the relationship we have only his voice: her letters have not been found.

Origine del racconto: Gibran's letters edited by Salma Haffar al-Kuzbari and Suheil Bushrui (al-Shu'la al-zarqa', 1979; Blue Flame, 1983).

Fonte: Bushrui, Suheil y Kuzbari, Salma Haffar (eds. y trads.). Blue Flame: The Love Letters of Kahlil Gibran to May Ziadah. Harlow: Longman, 1983.

Non verificabile1908–1910

'The William Blake of the twentieth century'

Few phrases have accompanied Gibran's fame as closely as the one Auguste Rodin is said to have bestowed on him after seeing his drawings in Paris: he supposedly called him 'the William Blake of the twentieth century'. The phrase has appeared on book jackets, catalogues and devout biographies since the 1930s. Yet no writing by Rodin, no letter and no independent witness records it. The only source is Gibran himself, who told it in conversation, followed by Barbara Young, who spread it. Critical biographers—Jean and Kahlil Gibran, Waterfield—stress that the young painter tended to embellish his Parisian contacts and that his acquaintance with Rodin, if it existed, was fleeting: perhaps a studio visit among other students. The comparison with Blake is apt enough; what cannot be asserted is that Rodin made it.

Origine del racconto: An attribution going back to Gibran himself and Barbara Young (1945); critical biographers find no trace of it in Rodin's papers.

Fonte: Waterfield, Robin. Prophet: The Life and Times of Kahlil Gibran. Londres: Allen Lane / Nueva York: St. Martin's Press, 1998.

Testimonianza1912

The portrait of ʿAbdu'l-Bahá

In spring 1912 ʿAbdu'l-Bahá, son of the founder of the Bahá'í Faith, arrived in New York on a lecture tour of the United States. Gibran, who was working on a series of portraits of great figures of his time, asked him for a sitting. The Bahá'í Juliet Thompson, a friend of both, noted in her diary that the painter barely slept the night before and rose at dawn for the meeting. The resulting drawing survives, and Gibran later said that in that old Persian he had seen for the first time 'the presence of the Holy Spirit'. Several scholars link this impression with the genesis of Jesus, the Son of Man, where Jesus appears as a figure of serene authority rather than the lamb of devout piety. The causal link cannot be proved, but the meeting and the portrait are well documented.

Origine del racconto: Juliet Thompson's diary (published as The Diary of Juliet Thompson, 1983); the portrait survives. The link with Jesus, the Son of Man is an interpretation by later scholars.

Fonte: Wikipedia (en), «Kahlil Gibran», consultada el 25 de octubre de 2026 (sección «Later years and death»).

Insegnamenti

Insegnamenti

Le nozioni che articolano il suo pensiero, spiegate nel loro contesto.

Almustafa and the prophetic voicealmustafa-la-voz-profetica
Gibran does not present himself as a prophet: he creates one. Almustafa, 'the chosen and the beloved', is a stranger who has lived twelve years in Orphalese and speaks only when asked, at the hour of departure. This structure—a sage taking leave—lets Gibran adopt the tone of the wisdom books and the Gospels without claiming doctrinal authority: Almustafa founds no religion, but gives back to each listener what is already 'moving within their souls'. The device has a precedent in Nietzsche's Zarathustra, which Gibran read passionately, but his prophet lacks sarcasm: he is a master of reconciling opposites (joy and sorrow, reason and passion, freedom and law). That is why the book could be read from very different traditions, and also why critics have accused it of vagueness.

Wisdom literature, Nietzsche and the biblical prophetic tradition read from the Mahjar.

Fonte: Bushrui, Suheil y Jenkins, Joe. Kahlil Gibran, Man and Poet: A New Biography. Oxford: Oneworld, 1998.

The god-selfel-yo-divino
In The Prophet Gibran distinguishes in every person a 'god-self', compared to the ocean and the sun, which 'remains for ever undefiled', and a part that is 'still man' or 'not yet man', 'a shapeless pigmy that walks asleep in the mist'. Evil is not a substance but the distance between the two: the wrongdoer does not cease to be good but limps towards the larger self. From this follow his critique of punishment (in 'On Crime and Punishment' guilty and wronged are inseparable) and his ethics without commandments. The notion, related to Blake's pantheism and to the Sufi idea of the human being as a mirror of God, already appears in The Forerunner, where every man is his own forerunner.

Romantic pantheism, Blake and Sufi mysticism; an ethics of inwardness.

Fonte: Project Gutenberg: Gibran, Kahlil, The Prophet (Nueva York: Knopf, 1923), ebook n.º 58585; The Madman (1918), n.º 5616; The Forerunner (1920), n.º 54580.

Reconciled oppositeslos-contrarios-reconciliados
One of Gibran's most constant figures of thought is the unity of opposites: joy is 'sorrow unmasked'; the cup that holds the wine is the one burned in the potter's oven; reason is the rudder and passion the sail of the soul, and neither should steer alone. Far from a philosophical dialectic, this is a pedagogy of suffering: pain 'breaks the shell' of understanding and enlarges the capacity for joy. The idea has roots in the Eastern Christian mysticism of his childhood and in European Romanticism, and lets him speak of death—'what is it to die but to stand naked in the wind and to melt into the sun?'—as an act of freedom rather than loss.

Romanticism and Eastern Christian mysticism.

Fonte: Project Gutenberg: Gibran, Kahlil, The Prophet (Nueva York: Knopf, 1923), ebook n.º 58585; The Madman (1918), n.º 5616; The Forerunner (1920), n.º 54580.

Love that does not possessel-amor-que-no-posee
For Gibran love is a force that wounds and purifies: it 'crowns' and 'crucifies', 'threshes' and 'kneads' the lover until he becomes sacred bread. But its decisive trait is that it neither possesses nor would be possessed. Hence his counsels on marriage ('let there be spaces in your togetherness'; 'the pillars of the temple stand apart') and on children, who 'come through you but not from you'. This view, which his own emotional life—Haskell, Ziadeh, loves without cohabitation—seems to embody, clashed head-on with the forced marriage he denounced in Spirits Rebellious and The Broken Wings, and explains the popularity of these passages at secular weddings in the twentieth century.

A critique of patriarchal marriage in Mount Lebanon; a mysticism of love.

Fonte: Project Gutenberg: Gibran, Kahlil, The Prophet (Nueva York: Knopf, 1923), ebook n.º 58585; The Madman (1918), n.º 5616; The Forerunner (1920), n.º 54580.

Work as love made visibletrabajo-amor-visible
In the discourse 'On Work' Gibran rejects both the view of work as biblical punishment and its reduction to a livelihood. To work with love is 'to weave the cloth with threads drawn from your heart', 'to build a house as if your beloved were to dwell in it'; whoever works with distaste 'bakes a bitter bread that feeds but half man's hunger'. The closing formula—'work is love made visible'—condenses an ethic of craft rooted in the artisan world of his seamstress mother and sister Marianna, and connects with the Arts and Crafts movement he encountered in Holland Day's Boston. It is one of his most quoted passages in work and education settings.

An ethic of craft; Arts and Crafts; wisdom tradition.

Fonte: Project Gutenberg: Gibran, Kahlil, The Prophet (Nueva York: Knopf, 1923), ebook n.º 58585; The Madman (1918), n.º 5616; The Forerunner (1920), n.º 54580.

The Mahjar and the Arabic prose poemmahyar-y-poema-en-prosa
Gibran was the central figure of Mahjar literature, that of Arab writers who emigrated to the Americas. Against neoclassical rhetoric, which demanded the metre and rhyme of the qasida, he practised a prose poem (shi'r manthur) of short sentences, natural imagery, repetition and confessional tone, in an Arabic close to speech that some purists considered incorrect (he answered in 1924 with 'You Have Your Language and I Have Mine'). The Pen League, which he presided over from 1920, systematised this renewal. Arab critics—Salma Khadra Jayyusi, Khalil Hawi—see in him the most decisive influence in the passage from classicism to romanticism in modern Arabic poetry.

Modern Arabic literature; Lebanese emigration to the Americas.

Fonte: Hawi, Khalil S. Kahlil Gibran: His Background, Character and Works. Beirut: American University of Beirut, 1963 (reed. Londres: Third World Centre, 1982).

Video

Video

Registrazioni, interviste e documentari. I video vengono riprodotti da YouTube; non sono ospitati qui.

  • وثائقي عن جبران خليل جبران (Documental sobre Gibran)

    Documentario· AR· 26 min

    Gibran National CommitteeCanale ufficiale

  • أرواح متمردة – جبران خليل جبران (Espíritus rebeldes)

    Documentario· AR· 53 min

    Al Jazeera Documentary

  • Khalil Gibran – Une vie, une œuvre (France Culture, 1990)

    Documentario· FR· 1990· 78 min

    ÉCLAIR BRUT

  • Khalil Gibran

    Documentario· FR· 52 min

    KTO TV

  • Gibran Khalil Gibran

    Documentario· ES· 27 min

    Canal22Canale ufficiale

  • Gibran Kahlil Gibran Museum, an in-depth explanation with Mr. Joseph Geagea

    Documentario· EN· 26 min

    Anthony Rahayel

  • Gibran, Naimy and Afifa Karam: Gender Politics in Mahjar Literature — Elizabeth Saylor

    Conferenza· EN· 21 min

    Gibran ChairCanale ufficiale

  • In Search of a Prophet — Kahlil Gibran: An Unparalleled Guide for Our Times (Paul-Gordon Chandler)

    Conferenza· EN· 66 min

    The Jerusalem Fund & Palestine Center

  • Kahlil Gibran ~ with Paul-Gordon Chandler

    Conferenza· EN· 62 min

    Banyen Books & Sound

  • Interview of Kahlil Gibran, artist, by David Ossman in Boston

    Intervista· EN· 10 min

    ArtistKahlil Gibran

  • Academy Conversations: Khalil Gibran's The Prophet

    Intervista· EN· 2015· 12 min

    OscarsCanale ufficiale

  • The Madman by Kahlil Gibran (audiolibro)

    Registrazione di terzi· EN· 45 min

    LearnOutLoud

Galleria

Galleria

Immagini con licenza verificata. Ciascuna conserva la sua paternità e la sua attribuzione.

Manoscritti

Manoscritti

Testimoni manoscritti e testi antichi, con il loro custode e le loro condizioni di consultazione.

  • EN · Latin · 1904–1931

    Kahlil Gibran–Mary Haskell papers

    Testimone conservato
    Cartas autógrafas y diarios de Mary Haskell
    Custode
    Southern Historical Collection, University of North Carolina at Chapel Hill
Manoscritti →

Relazioni

Relazioni

Influenze, discepolati e affinità. Si distingue la relazione documentata dalla somiglianza individuata per analisi.

  • Ricevette l'influenza di

    Al-Ghazali

    He devoted to him one of the portraits in al-Bada'i' wa-l-Tara'if (1923), as part of his interest in Islamic mysticism.

    Relazione documentata

  • Ebbe corrispondenza con

    Mary Haskell

    Patron, editor and confidante from 1904 to 1931; hundreds of letters and her journal document the relationship.

    Relazione documentata

  • Ebbe corrispondenza con

    May Ziadeh

    Literary and amorous correspondence from 1912 to 1931; they never met.

    Relazione documentata

  • Incontrò

    Mijaíl Naimy

    Close friend from 1916, fellow member of the Pen League and author of a biography of Gibran (1934).

    Relazione documentata

  • Incontrò

    Fred Holland Day

    Boston photographer and publisher who discovered him in 1896 and organised his first exhibition in 1904.

    Relazione documentata

  • Incontrò

    ʿAbdu'l-Bahá

    Gibran drew his portrait in New York in 1912; the meeting left a lasting impression.

    Relazione documentata

  • Ricevette l'influenza di

    Friedrich Nietzsche

    A decisive reading in his Paris and New York years; Thus Spoke Zarathustra is the formal antecedent of The Madman and The Prophet.

    Relazione documentata

  • Ricevette l'influenza di

    William Blake

    A model as visionary poet-painter, acknowledged by Gibran and noted by all his biographers.

    Relazione documentata

  • Ricevette l'influenza di

    Jesus of Nazareth

    Central figure of his religious imagination; he devoted Jesus, the Son of Man (1928) to him, and he is the implicit model for Almustafa.

    Relazione documentata

  • Influenzò

    Osho

    Osho commented on The Prophet in two volumes of talks, The Messiah (1987), and quoted it often.

    Relazione documentata

  • Idee affini a

    Rumi

    Love as a consuming and transforming force, and poetry as a mystical path, bring Gibran close to Rumi; no direct influence is documented.

    Somiglianza individuata per analisi

  • Contemporaneo di

    Swami Vivekananda

    Contemporaries in the United States of the 1890s with no known contact; both contributed to the American reception of Eastern spirituality.

    Somiglianza individuata per analisi

Collegato da altre schede

Fonti

Fonti

Bibliografia e cataloghi consultati per questa scheda.

  1. Bushrui, Suheil y Jenkins, Joe. Kahlil Gibran, Man and Poet: A New Biography. Oxford: Oneworld, 1998.
  2. Gibran, Jean y Gibran, Kahlil. Kahlil Gibran: His Life and World. Boston: New York Graphic Society, 1974 (ed. rev. Nueva York: Interlink, 1991).
  3. Waterfield, Robin. Prophet: The Life and Times of Kahlil Gibran. Londres: Allen Lane / Nueva York: St. Martin's Press, 1998.
  4. Hilu, Virginia (ed.). Beloved Prophet: The Love Letters of Kahlil Gibran and Mary Haskell, and Her Private Journal. Nueva York: Alfred A. Knopf, 1972.
  5. Naimy, Mikhail. Kahlil Gibran: A Biography. Nueva York: Philosophical Library, 1950 (orig. árabe, Beirut, 1934).
  6. Young, Barbara. This Man from Lebanon: A Study of Kahlil Gibran. Nueva York: Alfred A. Knopf, 1945.
  7. Wikidata, «Kahlil Gibran» (Q47737).
  8. Hawi, Khalil S. Kahlil Gibran: His Background, Character and Works. Beirut: American University of Beirut, 1963 (reed. Londres: Third World Centre, 1982).
  9. Project Gutenberg: Gibran, Kahlil, The Prophet (Nueva York: Knopf, 1923), ebook n.º 58585; The Madman (1918), n.º 5616; The Forerunner (1920), n.º 54580.
  10. Gibran National Committee (Comité National Gibran), Museo Gibran, Bsharri.
  11. Telfair Museums, Savannah: colección Kahlil Gibran (legado de Mary Haskell Minis, 1950).
  12. Wikipedia (en), «Kahlil Gibran», consultada el 25 de octubre de 2026 (sección «Later years and death»).
  13. Wikisource en árabe: textos de Yubrán Jalil Yubrán (al-Ajniha al-mutakassira; Dam'a wa-ibtisama, 1914; al-Arwah al-mutamarrida, 1908; Nubdha fi fann al-musiqa, 1905).
  14. Bushrui, Suheil y Kuzbari, Salma Haffar (eds. y trads.). Blue Flame: The Love Letters of Kahlil Gibran to May Ziadah. Harlow: Longman, 1983.
  15. Library of Congress, Prints and Photographs Division: F. Holland Day, retratos de Kahlil Gibran (c. 1898), LCCN 95503209.
  16. Wikisource en inglés: Gibran, Kahlil, Sand and Foam: A Book of Aphorisms (Nueva York: Knopf, 1926).
  17. Osho (Bhagwan Shree Rajneesh). The Messiah: Commentaries on Kahlil Gibran's The Prophet. 2 vols. Rajneeshpuram / Poona: Rajneesh Foundation International, 1987.
Titolare dei diritti
Gibran National Committee (Bsharri), beneficiario por legado testamentario de los derechos de autor del escritor. Las obras publicadas hasta 1930 son de dominio público en EE. UU.; toda la obra del autor (m. 1931) es de dominio público en la UE desde 2002 y en España desde 2012. Las traducciones y ediciones modernas tienen sus propios derechos.

In attesa di conferma

Ciò che questa scheda non ha ancora potuto chiarire. Preferiamo dirlo piuttosto che riempirlo.

  • Confirmar el día exacto de publicación de The Prophet (septiembre de 1923, según la tradición editorial de Knopf).
  • Localizar ISBN verificados de ediciones en árabe moderno, ruso e hindi de The Prophet y de al-Ajniha al-mutakassira (no figuran en Open Library).
  • Verificar ISBN de las traducciones inglesas de A Tear and a Smile (Nahmad, 1950) y The Broken Wings (Ferris, 1957).
  • Fechar y registrar las piezas dramáticas póstumas (The Blind y las cinco obras breves en árabe publicadas entre 1973 y 1993).
  • Comprobar si la Southern Historical Collection (UNC) ofrece digitalización de los papeles Haskell-Gibran y su signatura.
  • The Earth Gods (1931), The Wanderer (1932) y The Garden of the Prophet (1933) entrarán en dominio público en EE. UU. en 2027, 2028 y 2029: añadirlos entonces a la sala de lectura si hay texto en línea.

Ricerca effettuata il 2026-10-25