Though he considered himself to be mainly a painter, living most of his life in the United States, and writing his best-known works in English, Kahlil Gibran was the key figure in a Romantic movement that transformed Arabic literature in the first half of the twentieth century. Educated in Beirut, Boston, and Paris, Gibran was influenced by the European modernists of the late nineteenth century. His early works were sketches, short stories, poems, and prose poems written in simple language for Arabic newspapers in the United States. These pieces spoke to the experiences and loneliness of Syrian immigrants in the New World. For Arab readers accustomed to the rich but difficult and rigid tradition of Arabic poetry and literary prose, many of the forms and conventions of which went back to pre-Islamic Bedouin poetry, Gibran’s simple and direct style was a revelation and an inspiration. His themes of alienation, disruption, and lost rural beauty and security in a modernizing world also resonated with the experiences of his readers. He quickly found admirers and imitators among Arabic writers, and his reputation as a central figure of Arabic literary modernism has never been challenged.
Gibran’s reputation in the English-speaking world, on the other hand, has been mixed. His works have been hugely popular, making him the best-selling American poet of the twentieth century, but that enthusiasm has not been shared by critics. His paintings and drawings of sinuous idealized nudes belong to symbolism and art nouveau and are, thus, a survival of a tradition rejected both by American realists and European abstractionists. His English books—most notably, The Prophet (1923), with its earnest didactic romanticism—found no favor with critics whose models were the cool intellectualism of James Joyce and T. S. Eliot or the gritty realism of Ernest Hemingway. As a result, Gibran has been dismissed as a popular sentimentalist by American critics and historians of art and of literature. There are signs that this situation is changing, at least on the literary side, as critics become more sensitive to the characteristics of immigrant writing.
My father introduced me to Kahlil when I was in my early twenties when he gave me a copy of 'The Prophet' (which I have retained to this day). One particular poem made a huge impact on me and my outlook on life. It spoke to me of (return on) investment in life and in particular, of people that are so scared of being hurt, that they invest nothing; they just sit on the fence...
On Joy & Sorrow
Then a woman said, "Speak to us of Joy and Sorrow."
And he answered:
Your joy is your sorrow unmasked.
And the selfsame well from which your laughter rises was oftentimes filled with your tears.
And how else can it be?
The deeper that sorrow carves into your being, the more joy you can contain.
Is not the cup that hold your wine the very cup that was burned in the potter's oven?
And is not the lute that soothes your spirit, the very wood that was hollowed with knives?
When you are joyous, look deep into your heart and you shall find it is only that which has given you sorrow that is giving you joy.
When you are sorrowful look again in your heart, and you shall see that in truth you are weeping for that which has been your delight.
Some of you say, "Joy is greater than sorrow," and others say, "Nay, sorrow is the greater."
But I say unto you, they are inseparable.
Together they come, and when one sits alone with you at your board, remember that the other is asleep upon your bed.
Verily you are suspended like scales between your sorrow and your joy.
Only when you are empty are you at standstill and balanced.
When the treasure-keeper lifts you to weigh his gold and his silver, needs must your joy or your sorrow rise or fall.
The Man;
https://en.wikipedia.org/wiki/Kahlil_Gibran
https://www.poetryfoundation.org/poems-and-poets/poets/detail/kahlil-gibran
The Book;
https://en.wikipedia.org/wiki/The_Prophet_(book)
The Paintings;
http://inner-growth.info/khalil_gibran_prophet/html/galleries/gibran_gallery1.htm
