yuèdòujì bó lún Kahlil Gibranzài诗海dezuòpǐn!!! | |||
纪伯伦jì bó lún qīng nián shí dài yǐ chuàng zuò xiǎo shuō wéi zhù， dìng jū měi guó hòu zhú jiàn zhuǎn wéi yǐ xiě sǎnwén shī wéi zhù。 tā de xiǎo shuō jīhū dū yòng 'ā lā bó wén xiě chéng， yòu duǎn piān xiǎo shuō jí《 cǎo yuán xīn niàn》（ 1905）、《 pàn nì de líng hún》 hé cháng piān xiǎo shuō《 zhé duàn de chì bǎng》（ 1911） děng。《 zhé duàn de chì bǎng》 xiě dōng fāng fù nǚ de bēi cǎn mìng yùn hé tā men yǔ mìng yùn de kǔ dǒu， qiǎn zé tān lán、 qī zhà hé qū cóng， gē sòng zì zūn、 yì zhì hé lì liàng。 tā de xiǎo shuō yǐ zhù rén gōng chōng mǎn zhé xué yì wèi de dú bái、 duì huà hé xù shù， tè bié shì bèi yā pò bèi sǔn hài zhě chōng mǎn jī qíng de qīng sù qǔ shèng。 tā yòng 'ā lā bó wén fā biǎo de zuò pǐn hái yòu sǎnwén《 yīnyuè duǎn zhāng》（ 1905）， sǎnwén shī jí《 lèi yǔ xiào》（ 1913）、《 bào fēng yǔ》（ 1920）， shī jí《 hángliè shèng gē》（ 1918）， yǐ jí《 zhēn wén yǔ qù tán》（ 1923）、《 yǔ líng hún sī yǔ》（ 1927） děng。 tā yòng yīng wén xiě de dì yī bù zuò pǐn shì sǎnwén jí《 fēng rén》（ 1918）。 cǐ hòu lù jì fā biǎo sǎnwén shī jí《 xiān qū zhě》（ 1920）、《 xiān zhī》（ 1923）《 shā yǔ mò》（ 1926）、《 rén zhī zǐ yé sū》（ 1928）、《 xiān zhī yuán》（ 1931）、《 liú làng zhě》 děng， yǐ jí shī jù《 dà dì zhū shén》、《 lā sǎ lù hé tā de qíng rén》 děng。《 xiān zhī》 bèi rèn wéi shì tā de dài biǎo zuò， zuò zhě yǐ zhì zhě lín bié zèng yán de fāng shì， lùn shù 'ài yǔ měi、 shēng yǔ sǐ、 hūn yīn yǔ jiā tíng、 láo zuò yǔ 'ān lè、 fǎ lǜ yǔ zì yóu、 lǐ zhì yǔ rè qíng、 shàn 'è yǔ zōng jiào děng yī xì liè rén shēng hé shè huì wèn tí， chōng mǎn bǐ yù hé zhé lǐ， jù yòu dōng fāng sè cǎi。 jì bó lún bìng zì huì chōng mǎn làng màn qíng diào hé shēn kè yù yì de chā tú。
jì bó lún rèn wéi shī rén de zhí zé shì chàng chū“ mǔ qīn xīn lǐ de gē”。 tā de zuò pǐn duō yǐ“ ài” hé“ měi” wéi zhù tí， tōng guò dà dǎn de xiǎng xiàng hé xiàng zhēng de shǒu fǎ， biǎo dá shēn chén de gǎn qíng hé gāo yuǎn de lǐ xiǎng。 tā de sī xiǎng shòu ní cǎi zhé xué yǐng xiǎng jiào dà。 tā de zuò pǐn cháng cháng liú lù chū fèn shì jí sú de tài dù huò biǎo xiàn mǒu zhǒng shén mì de lì liàng。 tā shì 'ā lā bó jìn dài wén xué shǐ shàng dì yī gè shǐ yòng sǎnwén shī tǐ de zuò jiā， bìng zǔ zhì lǐng dǎo guò 'ā lā bó zhù míng de hǎi wài wén xué tuán tǐ“ bǐ huì”， wéi fā zhǎn 'ā lā bó xīn wén xué zuò chū guò zhòng dà gòng xiàn。 tā de zuò pǐn yǐ yì chéng shì jiè duō zhǒng wén zì， shòu dào gè guó dú zhě de huān yíng。 tā de zuò pǐn zuì xiān jiè shào dào zhōng guó lái de shì《 xiān zhī》（ bīng xīn yì， 1931）。 cóng 50 nián dài qǐ， tā de qí tā zuò pǐn yě zhú jiàn wéi zhōng guó dú zhě suǒ liǎo jiě。
zài duǎn zàn 'ér huī huáng de shēng mìng zhī lǚ zhōng， jì bó lún bǎo jīng diān pèi liú lí、 tòng shī qīn rén、 ài qíng bō zhé、 zhài wù chán shēn yǔ jí bìng jiān 'áo zhī kǔ。 tā chū shēng zài lí bā nèn běi bù shān qū de yī gè nóng jiā。 gù xiāng de qí wù qún shān yǔ xiù měi fēng guāng fù yú tā yì shù de líng gǎn。 12 suì shí， yīn bù kān rěn shòu 'ào sī màn dì guó de cán bào tǒng zhì， tā suí mǔ qīn qù měi guó， zài bō shì dùn táng rén jiē guò zhe qīng pín de shēng huó。 1898 nián， 15 suì de jì bó lún zhǐ shēn fǎn huí zǔ guó xué xí mín zú lì shǐ wén huà， liǎo jiě 'ā lā bó shè huì。 1902 nián fǎn měi hòu jǐn yī nián duō de shí jiān， bìng mó xiān hòu duó qù liǎo tā mǔ qīn děng sān wèi qīn rén。 tā yǐ xiě wén mài huà wéi shēng， yǔ wéi rén jiǎn cái féng yī de mèi mèi yī qǐ zhēngzhá zài jīn yuán dì guó de dǐ céng。 1908 nián， tā yòu xìng dé dào yǒu rén de zī zhù fù bā lí xué huà， bìng dé dào luó dān děng yì shù dà shī de qīn shòu yǔ zhǐ diǎn。 1911 nián tā zài cì fǎn měi hòu cháng qī kè jū niǔ yuē， cóng shì wén xué yǔ huì huà chuàng zuò， bìng lǐng dǎo 'ā lā bó qiáo mín wén huà cháo liú。 dāng tā gǎn dào sǐ shén jiāng lín， jué xīn ràng zì jǐ de shēng mìng zhī huǒ rán shāo dé gèng jiā guāng yào， suì bù gù bìng tòng， zhōng rì fú 'àn， zhí dào 48 suì yīng nián zǎo shì。
jì bó lún shì wèi rè 'ài zǔ guó、 rè 'ài quán rén lèi de yì shù jiā。 zài shēng mìng de zuì hòu suì yuè， tā xiě xià liǎo chuán biàn 'ā lā bó shì jiè de shī piān《 méng lóng zhōng de zǔ guó》， tā 'ōu gē bì shēng kǔ liàn de zǔ guó：“ nín zài wǒ men de líng hún zhōng héng héng shì huǒ， shì guāng； nín zài wǒ de xiōng táng lǐ héng héng shì wǒ jì dòng de xīn zàng。” ài yǔ měi shì jì bó lún zuò pǐn de zhù xuán lǜ。 tā céng shuō：“ zhěng gè dì qiú dōushì wǒ de zǔ guó， quán bù rén lèi dōushì wǒ de xiāng qīn。” tā fǎn duì yú mèi hé chén fǔ， tā rè 'ài zì yóu， chóng shàng zhèng yì， gǎn yú xiàng bào nüè de quán lì、 xū wěi de shèng tú xuān zhàn； tā bù pà bèi mà zuò“ fēng rén”， hūyù mái zàng yī qiē bù suí shí dài qián jìn de“ huó shī”； tā fǎn duì wú bìng shēn yín， kuā kuā qí tán； zhù zhāng yǐ“ xuè” xiě chū rén mín de xīn shēng。
wén xué yǔ huì huà shì jì bó yì shù shēng mìng shuāng yì。 jì bó lún de qián qī chuàng zuò yǐ xiǎo shuō wéi zhù， hòu qī chuàng zuò zé yǐ sǎnwén shī wéi zhù。 cǐ wài hái yòu shī gē、 shī jù、 wén xué píng lùn、 shū xìn děng。《 xiān zhī》 shì jì bó lún bù rù shì jiè wén tán de dǐng fēng zhī zuò， céng bèi yì chéng 'èr shí duō zhǒng wén zì zài shì jiè gè dì chū bǎn。
jì bó lún de huà fēng hèshī fēng yī yàng， dū shòu yīng guó shī rén wēi lián bù lāi kè（ 1757 héng 1827） de yǐng xiǎng， suǒ yǐ， wén tán chēng tā wéi“ 20 shì jì de bù lāi kè”。 1908 nián héng 1910 zài bā lí yì shù xué yuàn xué xí huì huà yì shù qī jiān， luó dān céng kěn dìng 'ér zì xìn dì píng jià jì bó lún：“ zhè gè 'ā lā bó qīng nián jiāng chéng wéi wěi dà de yì shù jiā。” jì bó lún de huì huà jù yòu nóng zhòng de làng màn zhù yì hé xiàng zhēng zhù yì sè cǎi， zài jì niàn guǎn shōu cáng。
zài dōng fāng wén xué shǐ shàng， jì bó lún de yì shù fēng gé dú shù yī zhì。 tā de zuò pǐn jì yòu lǐ xìng sī kǎo de yán sù yǔ lěng jùn， yòu yòu yǒng tàn diào shì de làng màn yǔ shū qíng。 tā shàn yú zài píng yì zhōng fā jué juàn yǒng， zài měi miào de bǐ yù zhōng qǐ shì shēn kè de zhé lǐ。 lìng yī fāng miàn， jì bó lún fēng gé hái jiàn zhū yú tā jí yòu gè xìng de yǔ yán。 tā shì yī gè néng yòng 'ā lā bó wén hé yīng wén xiě zuò de shuāng yǔ zuò jiā， ér qiě měi zhǒng yǔ yán dū yùn yòng dé qīng lì liú chàng， qí zuò pǐn de yǔ yán fēng gé zhēng fú liǎo yī dài yòu yī dài de dōng xī fāng dú zhě。 měi guó rén céng chēng yù jì bó lún“ xiàng cóng dōng fāng chuī lái héng sǎo xī fāng de fēng bào”， ér tā dài yòu qiáng liè dōng fāng yì shí de zuò pǐn bèi shì wéi“ dōng fāng zèng gěi xī fāng de zuì hǎo lǐ wù”。
zǎo zài 1923 nián， jì bó lún de wǔ piān sǎnwén shī jiù xiān yóu máo dùn xiān shēng jiè shào dào zhōng guó。 1931 bīng xīn nǚ shì fān yì liǎo《 xiān zhī》， wéi zhōng guó dú zhě jìn yī bù liǎo jiě jì bó lún kāi kuò liǎo wén xué de chuāng fēi。 jìn shí duō nián lái， wǒ guó yòu lù xù chū bǎn liǎo yī xiē jì bó lún zuò pǐn。 zhè wèi lí bā nèn wén tán jiāo zǐ zài zhōng guó yòu yuè lái yuè duō de zhī yīn。
píng jià：
tā shì wèi rè 'ài zǔ guó、 rè 'ài quán rén lèi de yì shù jiā。 zài shī《 méng lóng zhōng de zǔ guó》 zhōng， ōu gē bì shēng kǔ liàn de zǔ guó：“ nín zài wǒ men de líng hún zhōng héng héng shì huǒ， shì guāng； nín zài wǒ de xiōng táng lǐ héng héng shì wǒ jì dòng de xīn zàng。” tā céng shuō：“ zhěng gè dì qiú dōushì wǒ de zǔ guó， quán bù rén lèi dōushì wǒ de xiāng qīn。”
ài yǔ měi shì jì bó lún zuò pǐn de zhù xuán lǜ， wén xué yǔ huì huà shì tā yì shù shēng mìng de shuāng yì。
tā de zuò pǐn jì yòu lǐ xìng sī kǎo de yán sù yǔ lěng jùn， yòu yòu yǒng tàn diào shì de làng màn yǔ shū qíng。 tā shàn yú zài píng yì zhōng fā jué juàn yǒng， zài měi miào de bǐ yù zhōng qǐ shì shēn kè de zhé lǐ。 tā qīng lì liú chàng de yǔ yán zhēng fú liǎo yī dài dài shì jiè dú zhě。
zhù zuò：
duǎn piān xiǎo shuō jí《 cǎo yuán xīn niàn》《 pàn nì de líng hún》
cháng piān xiǎo shuō《 zhé duàn de chì bǎng》
sǎnwén《 yīnyuè duǎn zhāng》
sǎnwén shī jí《 lèi yǔ xiào》《 bào fēng yǔ》《 xiān qū zhě》《 xiān zhī》（ bèi rèn wéi shì tā de dài biǎo zuò）《 shā yǔ mò》《 rén zhī zǐ yé sū》《 xiān zhī yuán》《 liú làng zhě》
shī jí《 hángliè shèng gē》
《 zhēn wén yǔ qù tán》《 yǔ líng hún sī yǔ》
sǎnwén jí《 fēng rén》
shī jù《 dà dì zhū shén》《 lā sǎ lù hé tā de qíng rén》
rú guǒ nín rèn wéi běn cí tiáo hái yòu dài wán shàn， xū yào bǔ chōng xīn nèi róng huò xiū gǎi cuò wù nèi róng， qǐng biān ji cí tiáo
cān kǎo zī liào：
1. ā lā bó huà tán zhàn yòu dú tè de dì wèi。 tā bì shēng chuàng zuò liǎo yuē qī bǎi fú huì huà jīng pǐn， qí zhōng de dà bù fēn bèi měi guó yì shù guǎn hé lí bā nèn jì bó lún
2.《 yīnyuè》《 nà hā wàn dé》《 yī sī fǎ hǎn》《 sà bā》《 lāi sī dé》《 xiān zhī》《 chuán de dào lái》《 lùn 'ài》《 lùn hūn yīn》《 lùn hái zǐ》《 lùn shīshě》《 lùn yǐn shí》《 lùn láo zuò》《 lùn bēi huān》 jūn wéi jì bó lún de yī bù fēn zuò pǐn
In Lebanon
Gibran was born in the Christian Maronite town of Bsharri in today's northern Lebanon - at the time, part of the Ottoman Empire. He grew up in the region of Bsharri. His maternal grandfather was a Maronite Catholic priest[2]. His mother Kamila was thirty when Gibran was born; his father, also named Khalil, was her third husband.[3] As a result of his family's poverty, Gibran did not receive any formal schooling during his youth in Lebanon. However, priests visited him regularly and taught him about the Bible, as well as the Syriac and Arabic languages.
After Gibran's father, a tax collector, went to prison for alleged embezzlement,[1] Ottoman authorities confiscated his family's property. Authorities released Gibran's father in 1894, but the family had by then lost their home. Gibran's mother decided to follow her brother, Gibran's uncle, and emigrated to the United States. Gibran's father remained in Lebanon. Gibran's mother, along with Khalil, his younger sisters Mariana and Sultana, and his half-brother Peter left for New York on June 25, 1895.
In the United States
Khalil Gibran, Photograph by Fred Holland Day, c. 1898The Gibrans settled in Boston's South End, at the time the second largest Lebanese-American community in the United States. His mother began working as a pack peddler, selling lace and linens that she carried from door to door. Gibran started school on September 30, 1895. He had had no formal schooling in Lebanon, and school officials placed him in a special class for immigrants to learn English. Gibran's English teacher suggested that he Anglicise the spelling of his name in order to make it more acceptable to American society. Kahlil Gibran was the result.
Gibran also enrolled in an art school at a nearby settlement house. Through his teachers there, he was introduced to the avant-garde Boston artist, photographer, and publisher Fred Holland Day,[1] who encouraged and supported Gibran in his creative endeavors. A publisher used some of Gibran's drawings for book covers in 1898.
At 15, Gibran went back to Lebanon to study at a Maronite-run preparatory school and higher-education institute in Beirut. He started a student literary magazine with a classmate, and was elected "college poet". He stayed there for several years before returning to Boston in 1902. Two weeks before he got back, his sister, Sultana, age 14, died of tuberculosis. The next year, his brother Bhutros died of the same disease, and his mother died of cancer. His sister Marianna then supported Gibran and herself, working at a dressmaker's shop.[1]
Art and poetry
Gibran held his first art exhibition, of drawings, in 1904 in Boston, at Day's studio.[1] During this exhibition, Gibran met Mary Elizabeth Haskell, a respected headmistress ten years his senior. The two formed an important friendship that lasted the rest of Gibran's life. Though publicly discreet, their correspondence reveals an exalted intimacy. Haskell influenced not only Gibran's personal life, but also his career. In 1908, Gibran went to study art with Auguste Rodin in Paris for two years. This is where he met his art study partner and lifelong friend Youssef Howayek. He later studied art in Boston.
While most of Gibran's early writings were in Arabic, most of his work published after 1918 was in English. His first book for the publishing company Alfred Knopf, in 1918, was The Madman, a slim volume of aphorisms and parables written in biblical cadence somewhere between poetry and prose. Gibran also took part in the New York Pen League, also known as the "immigrant poets" (al-mahjar), alongside important Lebanese American authors such as Ameen Rihani ("the father of Lebanese American literature"), Elia Abu Madi and Mikhail Naimy, a close friend and distinguished master of Arabic literature, whose descendants Gibran declared to be his own children, and whose nephew, Samir, is a godson of Gibran.
Much of Gibran's writings deal with Christianity, especially on the topic of spiritual love. His poetry is notable for its use of formal language, as well as insights on topics of life using spiritual terms. Gibran's best-known work is The Prophet, a book composed of 26 poetic essays. This, the author's magnum opus, became especially popular during the 1960s with the American counterculture and New Age movements. Since it was first published in 1923, The Prophet has never been out of print and remains world-renowned to this day. Having been translated into more than 20 languages, it was the bestselling book of the twentieth century in the United States, second only to the Bible.
One of his most notable lines of poetry in the English speaking world is from 'Sand and Foam' (1926), which reads: 'Half of what I say is meaningless, but I say it so that the other half may reach you'. This was taken by John Lennon and placed, though in a slightly altered form, into the song Julia from The Beatles' 1968 album The Beatles (a.k.a. The White Album).
Juliet Thompson, one of Khalil Gibran's acquaintances, said that Gibran told her that he thought of `Abdu'l-Bahá, the leader of the Bahá'í Faith in his lifetime, all the way through writing The Prophet. `Abdu'l-Bahá's personage also influenced Jesus, The Son of Man, another book by Gibran. It is certain that Gibran did two portraits of him during this period.[4]
Political Thought
Gibran was a prominent Syrian nationalist. In a political statement he drafted in 1911,[5] he expresses his loyality to Greater Syria and to the safeguarding of Syria's national territorial integrity. He also calls for the adoption of Arabic as a national language of Syria and the application of Arabic at all school levels.
When the Ottomans were finally driven out of Syria during the first world war, Gibran's exhilaration was manifested in a sketch called "Free Syria" which appeared on the front page of al-Sa'ih's special "victory" edition. Moreover, in a draft of a play, still kept among his papers, Gibran expressed great hope for national independence and progress. This play, according to Kahlil Hawi,[6] "defines Gibran's belief in Syrian nationalism with great clarity, distinguishing it from both Lebanese and Arab nationalism, and showing us that nationalism lived in his mind, even at this late stage, side by side with internationalism."[7]
Death and legacy
Khalil Gibran memorial in Washington, D.C.
The Gibran Museum and Gibran's final resting place, located in Bsharri, LebanonGibran died in New York City on April 10, 1931: the cause was determined to be cirrhosis of the liver and tuberculosis. Before his death, Gibran expressed the wish that he be buried in Lebanon. This wish was fulfilled in 1932, when Mary Haskell and his sister Mariana purchased the Mar Sarkis Monastery in Lebanon.
Gibran willed the contents of his studio to Mary Haskell. There she discovered her letters to him spanning 23 years. She initially agreed to burn them because of their intimacy, but recognizing their historical value she saved them. She gave them, along with his letters to her which she had also saved, to the University of North Carolina Library before she died in 1964. Excerpts of the over six hundred letters were published in "Beloved Prophet" in 1972.
Mary Haskell Minis (she wed Jacob Florance Minis after moving to Savannah, Georgia in 1923) donated her personal collection of nearly one hundred original works of art by Gibran to the Telfair Museum of Art in Savannah in 1950. Haskell had been thinking of placing her collection at the Telfair as early as 1914. In a letter to Gibran, she explained, "...I am thinking of other museums...the unique little Telfair Gallery in Savannah, Ga., that Gari Melchers chooses pictures for. There when I was a visiting child, form burst upon my astonished little soul." Haskell's extraordinary gift to the Telfair is the largest public collection of Kahlil Gibran’s visual art in the country, consisting of five oils and numerous works on paper rendered in the artist’s lyrical style, which reflects the influence of symbolism. The future American royalties to his books were willed to his hometown of Bsharri, to be "used for good causes", however, this led to years of controversy and violence over the distribution of the money[8]; eventually, the Lebanese government became the overseer.
In Arabic:
Nubthah fi Fan Al-Musiqa (1905)
Ara'is al-Muruj (Nymphs of the Valley, also translated as Spirit Brides, 1906)
al-Arwah al-Mutamarrida (Spirits Rebellious, 1908)
al-Ajniha al-Mutakassira (Broken Wings, 1912)
Dam'a wa Ibtisama (A Tear and A Smile, 1914)
al-Mawakib (The Processions, 1919)
al-‘Awāsif (The Tempests, 1920)
al-Bada'i' waal-Tara'if (The New and the Marvellous,1923)
In English, prior to his death:
The Madman (1918) (downloadable free version)
Twenty Drawings (1919)
The Forerunner (1920)
The Prophet, (1923)
Sand and Foam (1926)
Kingdom Of The Imagination (1927)
Jesus, The Son of Man (1928)
The Earth Gods (1931)
Posthumous, in English:
The Wanderer (1932)
The Garden of the Prophet(1933)
Lazarus and his Beloved (1933)
Prose and Poems (1934)
A Self-Portrait (1959)
Thought and Meditations (1960)
Spiritual sayings (1962)
Voice of the master (1963)
Mirrors of the Soul (1965)
Death Of The Prophet (1979)
The Vision (1994)
Eye of the Prophet (1995)
Other:
Beloved Prophet, The love letters of Kahlil Gibran and Mary Haskell, and her private journal (1972, edited by Virginia Hilu)
Memorials and honors
Gibran Khalil Gibran Garden, Beirut, Lebanon
Gibran Khalil Gibran Skiing Piste, The Cedars Ski Resort, Lebanon
Kahlil Gibran Memorial Garden in Washington, D.C.[9], dedicated in 1990[10]
Gibran Memorial Plaque in Copley Square, Boston, Massachusetts
Khalil Gibran International Academy, a public high school in Brooklyn, NY
Khalil Gibran Park (Parcul Khalil Gibran) in Bucharest, Romania
Mentions in popular culture
Lists of miscellaneous information should be avoided. (May 2008)
Please relocate any relevant information into appropriate sections or articles.
Movies
The Prophet is seen in the Johnny Cash biopic Walk the Line when June Carter hands it to J.R to read in the motel.
Music
Jazz saxophonist Jackie McLean's "Kahlil the Prophet" is on his album Destination...Out! (1963) (Blue Note BLP 4165)
Jason Mraz's song "God moves through you" on the album Selections For Friends features words from the poem "The Prophet"
The lyrics to David Bowie's "The Width of a Circle", off his album The Man Who Sold the World (1970), relates a surrealist scene in which the narrator and his doppelgänger seek the help of a blackbird, who just "laughed insane and quipped 'Kahlil Gibran'".
Michigan experimental screamo outfit Men As Trees quote Gibran in the liner notes to their 2008 album, Weltschmerz: "We wanderers, ever seeking the lonelier way, begin no day where we have ended another day; and no sunrise finds us where sunset has left us."
Tyrannosaurus Rex's second album, Prophets, Seers & Sages – The Angels of the Ages, released in October 1968, was dedicated in Gibran's memory.
Guitarist Derek Trucks named his son Charles Khalil Trucks for saxophonist Charlie Parker, guitarist Charlie Christian, and Khalil Gibran.
His book The Prophet is mentioned in the Mad Season's song, "River of deceit". "My pain is self-chosen. At least, so The Prophet says".
The Chicago-based metal band Minsk's second album The Ritual Fires of Abandonment's lyrics are inspired by Kahlil Gibran, who also is credited as an author of the lyrics in the CD booklet.
Other
In the popular video game Deus Ex, one of the three possible ending quotes is Gibran's quote: "Yesterday we obeyed kings and bent our necks before emperors. But today we kneel only to truth..." The western spelling of his name, Kahlil Gibran, was used to credit him.
Khalil Gibran is referenced briefly in the episode Wingmen of the show The Boondocks. When Huey (the central character) is asked by his grandfather to say something "deep", he recites part of the poem "On Pain" from The Prophet.
In the hit TV show "One Tree Hill", Lucas Scott (Chad Michael Murray) quotes Gibran.
San Diego Padres shortstop Kahlil Greene was named after Gibran.
References
Wikimedia Commons has media related to:
Khalil Gibran^ a b c d e Acocella, Joan. "Prophet Motive", The New Yorker, January 7, 2008
^ Jagadisan, S. "Called by Life", The Hindu, January 5, 2003, accessed July 11, 2007
^ "Khalil Gibran (1883-1931)", biography at Cornell University library on-line site, retrieved February 4, 2008
^ "Khalil Gibran and the Bahá'í Faith", excerpts from World Order, A Baha'i Magazine, Vol. 12, Number 4, Summer, 1978, pages 29-31
^ Hawi, Kahlil Gibran: His Background, Character and Works, 1972, p155
^ Hawi, Kahlil Gibran: His Background, Character and Works, 1972, p219
^ Gibran and the national idea
^ [1]
^ Gibran Memorial in Washington, DC
^ Elmaz Abinader, Children of Al-Mahjar: Arab American Literature Spans a Century", U.S. Society & Values, February 2000