The Prophet and the Book of Proverbs Through the Lens of Lacan and Barthes

	Abstract This essay examines The Prophet by Kahlil Gibran and Proverbs from the Bible through the theoretical lenses of Jacques Lacan and Roland Barthes. It explores how Lacan’s concepts of the Imaginary, Symbolic, and Real shape the interpretation of these texts, with Proverbs anchoring meaning in a structured moral framework and The Prophet embracing ambiguity and fluidity. Barthes’ theory of the "death of the author" further underscores how The Prophet invites multiple readings, making it a "writerly" text, while Proverbs maintains strong ties to historical and theological interpretations. Ultimately, both texts demonstrate the power and limitations of language in conveying life’s deepest truths.
	Resumen Este ensayo analiza El Profeta de Kahlil Gibran y Proverbios de la Biblia a través de los marcos teóricos de Jacques Lacan y Roland Barthes. Se explora cómo los conceptos lacanianos de lo Imaginario, lo Simbólico y lo Real influyen en la interpretación de estos textos, donde Proverbios establece un marco moral estructurado, mientras que El Profeta adopta la ambigüedad y fluidez. La teoría de Barthes sobre la "muerte del autor" resalta cómo El Profeta invita a múltiples interpretaciones, convirtiéndolo en un texto "escribible", mientras que Proverbios mantiene vínculos más sólidos con interpretaciones históricas y teológicas. En última instancia, ambos textos ilustran el poder y las limitaciones del lenguaje para transmitir las verdades más profundas de la vida.
	Resumo Este ensaio examina O Profeta de Kahlil Gibran e Provérbios da Bíblia sob as lentes teóricas de Jacques Lacan e Roland Barthes. Explora como os conceitos de Lacan sobre o Imaginário, o Simbólico e o Real moldam a interpretação desses textos, com Provérbios ancorando seu significado em um quadro moral estruturado e O Profeta abraçando a ambiguidade e a fluidez. A teoria de Barthes sobre a "morte do autor" enfatiza como O Profeta convida a múltiplas leituras, tornando-o um texto "escrevível", enquanto Provérbios mantém fortes laços com interpretações históricas e teológicas. Em última análise, ambos os textos demonstram o poder e as limitações da linguagem na expressão das verdades mais profundas da vida.

Khalil Gibran’s (2019) The Prophet and the Book of Proverbs (The ESV study Bible: English standard version, 2008) are rich, symbolic texts that offer wisdom on life's profound questions to those seeking answers about earthly human existence. By applying the ideas of Jacques Lacan and Roland Barthes, we can uncover deeper layers of meaning in the prophet’s and King Solomon’s exploits, adding complexity to the comparison of these two works. Lacan’s psychoanalytic framework, with its focus on the Symbolic, Imaginary, and Real, allows us to explore how each text constructs subjectivity and desire. Meanwhile, Barthes’ theory of the "death of the author" and his concept of the multiple layers of a text offer a way to analyze these works not just as expressions of authorial intent but as multilayered structures that invite interpretation from various cultural and personal perspectives.

Lacan's concept of the Symbolic Order, which involves language, law, and social structure, is clearly evident in the Book of Proverbs (Acuña-Solano, Literary Reflective Journaling: The Book of Proverbs, 2024). As pointed out by Felluga (1998), once humans enter “into language and accept the rules of society,” they are ready to delve into “intersubjective relations, knowledge of ideological conventions, and the acceptance of the law”—topics that are amply covered in both books. However, Proverbs frequently articulates moral rules and norms that reflect a symbolic structure designed to govern human behavior. For example, Proverbs 1:7 states, "The fear of the Lord is the beginning of knowledge," positioning God as the ultimate authority and source of meaning within the Symbolic Order. Solomon's wisdom, traditionally seen as divine, acts as the Law that individuals must internalize in order to find their place in the moral universe. From a Lacanian perspective, Proverbs situates its readers within a framework that dictates a clear moral code, one that helps them navigate the complex desires and conflicts inherent in the Symbolic realm of their existence, ultimately addressing individuals’ craving to make sense of earthly existence.

On the other hand, The Prophet complicates the relationship between the individual and the Symbolic Order (Acuña-Solano, Literary Reflective Journaling: The Prophet by Kahlil Gibran, 2023). Almustafa, Gibran’s prophet, speaks in poetic and often ambiguous language, creating an Imaginary space where the self and the other can blend. According to May-Hobbs (2023), “The Imaginary is the level on which the self-perceived ego appears as it does in the mirror, rather than as the Real.” This idea of the mirror is present, for instance, when Almustafa discusses love and says, “When love beckons to you, follow him, though his ways are hard and steep.” Here, love is personified as an abstract force, evoking a Lacanian reading of desire and the Imaginary (the mirror), where one’s relationship with love is not bound by societal rules or laws but by a more fluid, personal, and imaginative interaction. This highlights the Lacanian tension between the Imaginary and the Symbolic—The Prophet often resides more in the Imaginary realm, creating spaces where readers can interpret its meanings in relation to their inner emotional worlds, perhaps offering guidance on how to navigate humanity’s emotional storms.

Moving to Barthes, both The Prophet and Proverbs offer rich material for textual analysis based on his theory of multiple layers of meaning. Barthes argued that texts are not static vessels of authorial intent but open to a plurality of interpretations. As posited by Bookish Bay (2025), “the author’s role ends once a work is created. It calls for a critical analysis of texts, with a focus on the reader’s role in the creation of meaning.” In Proverbs, the layers of the text are tightly bound to its cultural and theological contexts, yet they remain open to the reader’s insights and interpretations (Acuña-Solano, Literary Reflective Journaling: The Book of Proverbs, 2024). The "wisdom of Solomon" is deeply rooted in the Israelite tradition, with its rules of justice, behavior, and piety. However, even within this structure, there are layers to explore—Barthes would point out that Proverbs contains deeper symbolic resonances, particularly in its metaphorical language. For example, Proverbs 10:11 states, "The mouth of the righteous is a fountain of life." This metaphor operates on multiple levels: a literal teaching, a symbolic portrayal of virtue, and a cultural reference to water as a life-giving force, central in arid regions. The reader can peel back these layers and discover how language constructs morality and order.

The Prophet, however, exemplifies Barthes' idea of the "death of the author," where Gibran’s personal biography fades, allowing the text to exist independently of him and remain open to infinite interpretations (Acuña-Solano, Literary Reflective Journaling: The Prophet by Kahlil Gibran, 2023). “By rejecting the centrality of the author’s intent, Barthes proposed a more expansive method of literary analysis. Readers are encouraged to engage critically with a work, examining its themes, symbols, and structure without deferring to the presumed intentions of its creator” (Bookish Bay, 2025). The poetic and metaphorical nature of The Prophet creates multiple layers of interpretation. For example, in his passage on freedom, Almustafa says, "You shall be free indeed when your days are not without a care nor your nights without a want and a grief." This statement is imbued with ambiguity, leaving room for the reader to project their own understanding onto the text.

Barthes’ notion of "readerly" versus "writerly" texts suggests that The Prophet is a “writerly” text, meaning that its meaning is co-created by the reader, who actively engages with its metaphorical and symbolic layers to generate personal meaning rather than passively consuming a predetermined interpretation (Acuña-Solano, Literary Reflective Journaling: The Prophet by Kahlil Gibran, 2023). “According to Barthes,” Felluga (1998) states, The Prophet, like other complex texts, “has multiple entrances and exits.” Barthes, therefore, chooses to cut up the texts he analyzes into "contiguous fragments," which he calls lexias or "units of reading" or "starred" segments. The chapters of The Prophet are indeed “contiguous fragments” that the reader is meant to interpret in a sort of half-somnolent reverie.

Lacan’s notion of the "Real" also plays a role in both texts, though in different ways. The Real, according to Lacan, is that which resists symbolization and language. In the absence of the Imaginary, the human being “encounters the Real as terrifying or unbearable, without structure or harmony” (May-Hobbs, 2023). In Proverbs, the Real is perhaps glimpsed in the divine—an unknowable, omnipresent force that lies beyond human understanding yet influences every aspect of existence (Acuña-Solano, Literary Reflective Journaling: The Book of Proverbs, 2024). Proverbs often gestures toward this in its focus on God’s inscrutable plan, as in Proverbs 16:9: "In their hearts humans plan their course, but the Lord establishes their steps." Here, the Real interrupts human efforts to create order, emphasizing the limitations of the Symbolic and the Imaginary in fully grasping divine wisdom.

In The Prophet, the Real manifests in the deep existential truths that language attempts to capture but can never fully articulate (Acuña-Solano, Literary Reflective Journaling: The Prophet by Kahlil Gibran, 2023). Almustafa’s reflections often highlight life’s paradoxes, where human experiences like love, joy, and sorrow intersect and resist simple categorization. Why does this happen? It happens because, as stated by May-Hobbs (2023), “the Real appears as a force of amorphous perturbation—as that which horrifies and disturbs. Resistant to symbolization and lurking at the edges of ordinary reality, Lacan describes the Real as something brutal and overwhelming.” When Almustafa says, “Your joy is your sorrow unmasked,” Gibran evokes the Lacanian Real by acknowledging that certain truths lie beyond our ability to fully comprehend them. These moments in the text create a space where readers confront aspects of their own lives that cannot be entirely symbolized through language, aligning with Lacan’s concept of the Real as that which exists outside structured meaning.

Barthes would further argue that The Prophet deconstructs conventional structures of meaning through its reliance on paradox and ambiguity (Acuña-Solano, Literary Reflective Journaling: The Prophet by Kahlil Gibran, 2023). Rather than offering definitive truths, Gibran presents ideas that, like Barthes' concept of a "plural text," invite multiple interpretations. Unlike a traditional "work," which is seen as having a singular, intended meaning, a "text" is inherently open-ended, allowing for diverse readings shaped by the reader’s perspective and cultural background. The Prophet resists closure, embodying the idea that meaning is not fixed but always in flux. Similarly, while Proverbs offers structured wisdom, it also contains symbolic depth that can be revisited and reinterpreted in various contexts, from the personal to the communal.

In conclusion, examining The Prophet and the Book of Proverbs through the lenses of Lacan and Barthes reveals how these works explore layers of meaning, subjectivity, and the symbolic structures that shape human life. While Proverbs firmly situates its readers within a moral and symbolic framework, The Prophet encourages a more fluid, imaginative engagement with the world, residing between the Imaginary and the Symbolic. Barthes' theories of textual layering and the “death of the author” help us see these works not as static vessels of wisdom but as dynamic, living texts that continually invite reinterpretation. Ultimately, through the perspectives of Lacan and Barthes, both works illustrate how language constructs meaning but also reveals its limitations in capturing life’s deepest truths.

References

Acuña-Solano, J. (2023, November). Literary Reflective Journaling: The Prophet by Kahlil Gibran. Literary Refelctive Journaling. San José, Costa Rica.

Acuña-Solano, J. (2024, September). Literary Reflective Journaling: The Book of Proverbs. Literary Reflective Journaling. San José, Costa Rica.

Bookish Bay. (2025, January 17). Death of the Author. Retrieved from Bookish Bay: https://bookishbay.com/death-of-the-author-theory-by-roland-barthes/#:~:text=The%20concept%20of%20the%20%E2%80%9CDeath,elements%20within%20the%20text%20itself.

Felluga, D. F. (1998). Introductory Guide to Critical Theory. Purdue University.

Gibran, K. (2019). The Prophet. New York City: Clydesdale Press.

May-Hobbs, M. (2023, September 2023). Jacques Lacan: Explaining the Imaginary, the Symbolic, and the Real. Retrieved from The Collector: https://www.thecollector.com/jacques-lacan-imaginary-symbolic-real/

The ESV study Bible: English standard version. (2008). Wheaton, Illinois: Crossway Bibles.

Discussion Questions:

Use the following questions to guide a discussion on the essay:

1. How does The Prophet challenge traditional structures of meaning compared to Proverbs?
2. In what ways does The Prophet invite multiple interpretations, according to Barthes’ theory?
3. How does Lacan’s concept of the Imaginary apply to Almustafa’s teachings in The Prophet?
4. What role does the Real play in Proverbs, particularly in relation to divine wisdom?
5. How do paradox and ambiguity function in The Prophet to resist fixed interpretations?
6. How does Proverbs maintain its authority as a moral and theological guide despite Barthes’ idea of the death of the author?
7. How do both texts illustrate the limitations of language in expressing existential or divine truths?
8. How do cultural and historical contexts influence the way readers interpret Proverbs?
9. What are some examples of “contiguous fragments” in The Prophet, and how do they shape the reading experience?

Six Research Topics for Further Study

If readers are interested in exploring these ideas further, they can research the following topics:

1. Lacan’s Three Orders (Imaginary, Symbolic, Real) in Religious Texts – A deeper analysis of how different religious and philosophical texts fit into Lacan’s framework.
2. The Role of Metaphor in Theological Writings – Investigating how metaphor shapes meaning in wisdom literature.
3. Barthes’ Death of the Author and its Implications for Interpreting Sacred Texts – Examining how removing authorial intent changes our understanding of religious works.
4. The Psychology of Wisdom Literature – How texts like Proverbs and The Prophet influence moral and ethical decision-making.
5. Comparing The Prophet to Eastern Philosophical Texts – Analyzing whether Gibran’s work aligns with Buddhist or Taoist thought.
6. Reader-Response Theory and the Interpretation of Wisdom Literature – Investigating how different audiences interpret Proverbs and The Prophet based on their backgrounds.

 

Book Critique:

"The Prophet"

by Kahlil Gibran

 

	Abstract Kahlil Gibran's "The Prophet," first published in 1923, is a collection of poetic essays delivered by Almustafa, who shares his wisdom with the people of Orphalese. The book explores themes such as love, marriage, children, work, freedom, pain, joy, sorrow, and death. Gibran's poetic prose offers profound insights into the human condition, though it has been critiqued for its idealism and abstractness. Despite these criticisms, "The Prophet" remains an influential work, resonating with readers worldwide.
	Resumen "El Profeta" de Kahlil Gibran, publicado por primera vez en 1923, es una colección de ensayos poéticos entregados por Almustafa, quien comparte su sabiduría con el pueblo de Orphalese. El libro explora temas como el amor, el matrimonio, los hijos, el trabajo, la libertad, el dolor, la alegría, la tristeza y la muerte. La prosa poética de Gibran ofrece profundas reflexiones sobre la condición humana, aunque ha sido criticada por su idealismo y abstracción. A pesar de estas críticas, "El Profeta" sigue siendo una obra influyente que resuena en lectores de todo el mundo.
	Resumo "O Profeta" de Kahlil Gibran, publicado pela primeira vez em 1923, é uma coleção de ensaios poéticos apresentados por Almustafa, que compartilha sua sabedoria com o povo de Orphalese. O livro explora temas como amor, casamento, filhos, trabalho, liberdade, dor, alegria, tristeza e morte. A prosa poética de Gibran oferece profundos insights (percepções) sobre a condição humana, embora tenha sido criticada por seu idealismo e abstração. Apesar dessas críticas, "O Profeta" continua a ser uma obra influente que ressoa com leitores em todo o mundo.

 

Overview:

Kahlil Gibran's "The Prophet," first published in 1923, is a lyrical and philosophical prose-poetry work that has resonated with readers for more than a century now. The book comprises 26 poetic exegeses delivered by the protagonist, Almustafa, one of the two personas in the poem addressing the readers, who shares his wisdom with the people of the city of Orphalese before embarking on a journey back to his homeland.

Gibran’s composition, viewed poetically as if composed by a trouvѐre, features two personas interacting with the reader. There is a narrative voice that frames his prose-poetry work, both opening and closing it and also initiating each poetic exegesis. The other persona is Almustafa, who shares his perspectives in response to the crowd's inquiries and direct questions. Each exposition by Almustafa delves into a different aspect of life, offering profound insights, reflections, and food for thought for the readers that somehow rush forth to release people in Orphalese for their misconception bondage.

Main Points and Themes found in Gibran’s prose-poetry work:

1.    Love:

o   Almustafa’s persona is adamant on exploring love as an all-encompassing force that transcends time and space. Based on the persona’s insight and dexterity in life insights, love is portrayed as both joyous and painful, emphasizing its transformative power and necessity for personal growth in human beings. The use of “metaphors comparing love to a winged entity, a gardener, a reaper, and a baker: (Course Hero, n.d.) enforces the idea that love is a transformative energy that can make people change.

o   The persona embodied by Almustafa also suggests that love should not bind or control but should allow freedom and individuality within a relationship, advocating for a balance between togetherness and personal autonomy. For Almustafa, “Love has no other desire but to fulfill itself” (Gibran, 2019). In this fulfillment of love, no person gets physically crippled or maimed by it.

2.    Marriage:

o   In his poetic persona’s reflections on marriage, Almustafa, a level-headed understander of life, emphasizes the importance of unity and individuality. The persona present in this poetic narrative advises with his zeal that partners should be together yet maintain their own identities, like "the pillars of the temple stand apart, / And the oak tree and the cypress grow not in each other’s shadow" (Gibran, 2019). Almustafa’s boldness help the readers see how he “employs contrasting images of togetherness and autonomy to underscore the idea that love is a shared experience, not bondage or possession” (Course Hero, n.d.).

o   Based on his way of addressing the crowd and their ulterior quite telling reaction, the persona in “The Prophet”, Almustafa also promotes mutual respect, understanding, and shared purpose as the foundations of a strong marriage, underscoring the need for personal space within a close partnership. Almitra, Orphalese’s seeress, gets the following message from the persona; “… let there be spaces in your togetherness. / And let the winds of the heavens dance between you” (Gibran, 2019). And this sort of necessary separation is a way to stop people’s long-drawn-out agony.

3.    Children:

o   The persona in this narrative poem presents children as independent beings who come through parents but do not belong to them. Kids are not hostile mobs or accursed fates because, as Almustafa states, offspring “come through you but not from you,” though they are with you yet they belong not to you” (Gibran, 2019). The persona asserts that parents are the bow, and children are the arrows, meant to be sent forth to create their own paths. The persona in Almustafa “envisions childhood and parenthood as spiritual journeys in which both child and parent have a transcendent task determined by God” (Course Hero, n.d.).

o   The “narrator” in this kind of narrative prose underscores the importance of allowing children to develop their own identities and destinies, encouraging parents to render assistance rather than to control their children's growth. This is seen when Almustafa tells the crowd, “You may give them your love but not your thoughts, / For they have their own thoughts” (Gibran, 2019). To sum up, “the woman who introduces the topic, most likely a mother, knows the physical part of being a parent. What she doesn’t yet understand is the spiritual nature of parenthood” (Course Hero, n.d.).

4.    Work:

o   Work is depicted as love made visible but not a curse. When asked Almustafa by a ploughman about work, the persona in him extols the virtue of finding joy and purpose in one's labor, seeing it as a means of contributing to the greater good. The persona states that “When [we] work [we] are a flute through whose heart the whispering of the hours turns to music” (Gibran, 2019), we are not to “labour a misfortune” (Gibran, 2019).

o   He encourages approaching work with passion and dedication, viewing it as a sacred duty and a pathway to personal fulfillment. For the persona in this narrative poem, “work with love” conducive to self-realization is “to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit” (Gibran, 2019). The persona in the poem “counsels that each life has a purpose and each person an assigned vocation, or calling” (Course Hero, n.d.). In the end, all human work will be made memorable by their exploits.

5.    Freedom:

o   Freedom, according to the “narrator” present in the poem, is not about escaping responsibilities but about living authentically and in harmony with oneself and others. Freedom is not meant to be “a yoke and a handcuff”; it does not have to be seen “as a goal and a fulfillment.” For the persona in the poem, freedom does not have to be the “truth that which [we] call freedom [that] is the strongest of these chains, though its links glitter in the sun and dazzle your eyes” (Gibran, 2019). Freedom when attained is not something that robbers can plunder.

o   Almustafa’s reflective voice in the poem highlights the internal struggle for freedom, urging the people of the city of Orphalese and readers to free themselves from the chains of fear, desire, and societal expectations, advocating for true self-expression and autonomy. Dethroning what people think of freedom, according to the voice in the poem, they first need to acknowledge that there is a “throne erected within” us that has to be destroyed (Gibran, 2019). As it can be inferred from the lines of the poem, “Almustafa clarifies the idea of transcendence, describing it as the sense of rising toward a divine light of understanding, where true freedom waits” (Gibran, 2019).

6.    Pain:

o   Almustafa being addressed by a woman acknowledges pain as an inevitable part of life, suggesting that it is necessary for growth and understanding. His narrative persona compares pain to the breaking of the shell that encloses one's understanding that cannot overshadow the truth. Pain is necessary because “It is the bitter potion by which the physician within you heals your sick self” (Gibran, 2019). In other words, “Almustafa defines pain as resulting from exposure to a truth has been hidden or denied” (Course Hero, n.d.)

o   The poetic persona in the narrative advises embracing pain as a teacher and a catalyst for deeper self-awareness, seeing it as a vital aspect of personal development though its spear is thrust in our sides. “When a truth breaks free, the cracking of the shell is painful, yet it exposes the truth to the "sunlight" of awareness and understanding” (Course Hero, n.d.). When that happens, once again our inner spiritual physician can heal this emotion we humans call pain.

7.    Joy and Sorrow:

o   “Your joy is your sorrow unmasked” (Gibran, 2019). Joy and sorrow are presented as inseparable companions, each giving meaning to the other; they sprung about together, not separately. The persona in this poetry-prose narrative illustrates this duality by suggesting that the deeper sorrow carves into one's being, the more joy one can contain. “Joy and sorrow balance, mirror and complement each other, just as love unites many opposites” (Book Rags, 2024).

o   He encourages readers to accept both joy and sorrow as integral parts of the human experience, promoting a holistic acceptance of life's emotional spectrum. “The joyous should look inside the sorrow giving joy, and the sorrowful should see that they are weeping past delight” (Book Rags, 2024). There is a duality within one’s soul to understand that, as Almustafa states in the poetic narrative, that we can’t separate them from one another. That is why he says that “Only when you are empty are you at standstill and balanced” (Gibran, 2019); not before, not after.

8.    Death:

o   Almustafa, one of the two personas in the poem, addressing Almitra the seeress and the crowd in Orphalese, asks a powerful rhetorical question: “For what is to die but to stand naked in the wind and to melt in the sun?” (Gibran, 2019). Thence arise the persona’s views that death is as a transition rather than an end, describing it as a return to the greater reality from which we came. He portrays it as a reunion with the infinite that lies beyond. “Almustafa sees a topic as two sides of a coin. Here he addresses life and death in that way. With a turn of the coin, death becomes an ending to life. But flip the coin again, and death becomes a new beginning” (Course Hero, n.d.).

o   The persona in Almustafa urges readers to view death without fear, seeing it as a natural part of life's cycle and a continuation of the soul's journey. Once dead we are meant to disappear in the foam of that deep though unknown sea of the afterlife. When thinking of death, according to the poem’s persona, our “fear of death is but the trembling of the shepherd when he stands before the king whose hand is to be laid upon him in honour” (Gibran, 2019). Bearing the mark of the king is a sign of joy for what it’s to come once life has ceased. “The soul, no longer earthbound, is free to "rise and expand" and become one with the infinite, eternal universe. It has passed through "the gate to eternity" to find a new beginning” (Course Hero, n.d.).

Critique:

1.    Strengths:

o   Gibran's poetic prose is both beautiful and evocative, blending profound philosophical insights with lyrical language. His forerunning ability to distill complex ideas into simple yet powerful imagery is a significant strength. “Perhaps the secret of Gibran's success was the ease with which people from many walks of life could identify with both the prophet and the content of his words” (eNotes, 2023). “The Prophet” is a book that is not meant to be read in a spiritually oriented way, but as a source of reflection for our lives.

o   The universal themes addressed in "The Prophet" resonate with readers of diverse backgrounds, offering timeless wisdom on fundamental aspects of the human condition. The book’s spiritual and emotional depth provides comfort and inspiration, making it a valuable companion through life's various stages. What actually happens in the plot of this prose-poetry work is not a priest-like persona who wants to preach a group of people whom he has now known for twelve years, but it is the people of Orphalese who want to hear the wisdom coming out of his mouth. “It is the people who ask to hear his words—rather than him providing advice, unprompted” (eNotes, 2023).

2.    Weaknesses:

o   Though some critics argue that “Khalil Gibran weaves a tapestry of wisdom that transcends time and speaks to the essence of huma experience” (Dunn, 2023), some others argue that Gibran's work can be overly idealistic and abstract, lacking practical applicability in everyday life. His poetic style, while appealing, might also obscure concrete guidance that some people may be looking for.

o   Though the persona “speaks to readers of all ages and backgrounds” (BooKey, 2024), the book's spiritual and mystical tone may not appeal to all readers, particularly those seeking more rational or empirical approaches to life's questions. Additionally, some readers may find the philosophical reflections too generalized, longing for more specific, actionable advice. “Some readers have criticized the book for being overly simplistic or preachy in its message. The book's language can be seen as overly flowery and melodramatic by some, making it difficult for readers to connect with the text on a deeper level” (BooKey, 2024).

3.    Impact and Legacy:

o   For many "The Prophet" has had a profound impact on literature, spirituality, and popular culture. Its messages of love, freedom, and self-awareness continue to inspire and comfort readers around the world despite the negative criticism it has experienced in 100 years since its very first publication and appearance on bookstores’ shelves. “Gibran's poetic and philosophical reflections on life's fundamental truths transcend cultural and religious boundaries, speaking to the human condition in a way that is both profound and accessible” (BooKey, 2024).

o   “In addition to its literary impact, "The Prophet" has also had a significant influence on popular culture” (BooKey, 2024). Gibran's work has influenced various artistic expressions, from music to visual arts, and remains a beloved text in the realms of both literature and spiritual reflection. “Its enduring popularity has led to adaptations in various art forms, including music, film, and theater, further extending its reach and impact” (BooKey, 2024). The book's enduring popularity speaks to its ability to touch the hearts and minds of successive generations, affirming its place as a classic in philosophical and poetic literature.

Conclusion

Kahlil Gibran's "The Prophet" is a masterful blend of poetry and philosophy that addresses fundamental aspects of the human experience. Through Almustafa's reflections on love, marriage, children, work, freedom, pain, joy, sorrow, and death, Gibran offers timeless wisdom that continues to resonate deeply with readers. “As we journey through the words of Almustafa, we find ourselves immersed in a profound exploration of love, freedom, joy, and the interconnectedness of all aspects of existence” (Dunn, 2023). While some may find his idealism and abstractness challenging, the beauty and depth of his prose-poetry ensure "The Prophet" remains a cherished and influential work, offering true insights into the complexities of life.

References

Book Rags. (2024). The Prophet . Retrieved from Book Ragas Study Guide: https://www.bookrags.com/studyguide-the-prophet/#gsc.tab=0

BooKey. (2024, April 17). In-depth The Prophet review: a powerful and insightful analysis. Retrieved from BooKey.App: https://www.bookey.app/topic/in-depth-the-prophet-review%3A-a-powerful-and-insightful-analysis

Course Hero. (n.d.). Literature Study Guides: The Profet by Kahlil Gibran. Retrieved from Course Hero: https://www.coursehero.com/lit/The-Prophet/

Dunn, E. (2023, August 30). Exploring the Wisdom of Life: The Key Takeaways From “The Prophet” by Kahlil Gibran. Retrieved from Medium.Com: https://medium.com/@edwardgdunn/exploring-the-wisdom-of-life-the-key-takeaways-from-the-prophet-by-kahlil-gibran-8b129155b286

eNotes. (2023, September 5). The Prophet. Retrieved from eNotes.Com: https://www.enotes.com/topics/prophet/in-depth

Gibran, K. (2019). The Prophet. New York City: Clydesdale Press.

Reading Comprehension Exercise

Instructions: After having read the book critique, take some minutes to answer the following questions. The answers are provided at the end.

Multiple Choice:
1. What is the main theme of "The Prophet" by Kahlil Gibran?
a) Political philosophy
b) Human condition and life's fundamental aspects
c) Historical events
d) Technological advancements

True or False:
2. Almustafa is the only persona interacting with the readers in "The Prophet."

Short Answer:
3. How does Gibran describe the relationship between joy and sorrow?

Multiple Choice:
4. What does Gibran suggest about the nature of work?
a) It is a curse
b) It should be approached with passion and dedication
c) It is unnecessary
d) It should be avoided

True or False:
5. Gibran views freedom as escaping responsibilities.

Fill in the Blank:
6. Gibran describes pain as "_________ that encloses one's understanding."
a) a shell
b) a burden
c) a curse
d) a gift

Multiple Choice:
7. What does Almustafa say about children?
a) They belong to their parents
b) They should be controlled by their parents
c) They come through parents but do not belong to them
d) They should not be given any freedom

True or False:
8. Gibran's work has had no impact on popular culture.

Short Answer:
9. What is Gibran's perspective on death according to "The Prophet"?

Fill in the Blank:
10. According to Almustafa, "love should not bind or control but should allow _______ and individuality within a relationship."
a) freedom
b) respect
c) joy
d) pain

Answer Key

1.      b) Human condition and life's fundamental aspects

2.      False

3.      Joy and sorrow are presented as inseparable companions, each giving meaning to the other.

4.      b) It should be approached with passion and dedication

5.      False

6.      a) a shell

7.      c) They come through parents but do not belong to them

8.      False

9.      Gibran views death as a transition rather than an end, describing it as a return to the greater reality from which we came.

10.   a) freedom

Book Critique: The Prophet ... by Jonathan Acuña

Book Critique the Prophet b... by Jonathan Acuña