The Prophet PDF

Curriculum Guide
Curriculum Guide
For the Film
Kahlil Gibran’s The Prophet
Journeys in Film
www.journeysinfilm.org
Journeys in Film: Kahlil Gibran’s The Prophet

Educating for Global Understanding
www.journeysinfilm.org
Journeys in Film Staff

Joanne Strahl Ashe, Founding Executive Director
Eileen Mattingly, Director of Education/Curriculum Content Specialist
Amy Shea, Director of Research
Roger B. Hirschland, Executive Editor
Ethan Silverman, Film Literacy Consultant
Journeys in Film Board of Directors

Joanne Strahl Ashe, Founder and Chairman
Erica Spellman Silverman
Diana Barrett
Julie Lee
Michael H. Levine
Authors of this curriculum guide

Jack Burton
Anne Engles
Kathryn Fitzgerald
Jonathan Freeman-Coppadge
Bengt Johnson
Matt McCormick
Laura Zlatos
With thanks to Lynn Hirshfield and Hamida Rehimi of Participant Media,

and to William Nix of Creative Projects Group and Executive Producer of
Kahlil Gibran’s The Prophet
Copyright © 2015 Participant Media, LLC. All Rights Reserved.
Participant Media Journeys in Film

331 Foothill Rd., 3rd Floor 50 Sandia Lane
Beverly Hills, CA 90210 Placitas, NM 87043
310.550.5100 505.867.4666
www.participantmedia.com www.journeysinfilm.org
Table of Contents
Introduction
About Journeys in Film 6

A Letter From Liam Neeson 8
Introducing Kahlil Gibran’s The Prophet 10
A Letter From Salma Hayek 12
Notes to the Teacher 13
Lessons
Lesson 1: Who Was Kahlil Gibran? 15

(Art History, Philosophy, Social Studies, English Language Arts)
Lesson 2: The Art of Kahlil Gibran 23

(Art, Art History)
Lesson 3: On Freedom 32
(English Language Arts)
Lesson 4: On Children 41
Lesson 5: On Marriage 47
Lesson 6: On Work 53
Lesson 7: On Eating and Drinking 62

Lesson 8: On Love 74
Lesson 9: On Good and Evil 80

Lesson 10: On Death 90

Lesson 11: The Visual Imagery of Kahlil Gibran’s The Prophet 98

(Film Literacy)
Journeys in Film: Kahlil Gibran’s The Prophet 5

About Journeys in Film
Journeys in Film was founded in 2003 to use the storytell- Many teachers have reported that the Journeys in Film
ing power of film to educate our young generations toward program was beneficial to their students: Students gain in
a richer understanding of the diverse and complex world empathy and acceptance; their curiosity about the world
in which we live. Our goal is to help students develop a beyond their own cultural groups increases.
deeper knowledge of global issues and current challenges.
In addition to the free film-based lesson plans, Journeys in
We aim to mitigate attitudes of cultural bias and racism
Film offers professional development to help teachers effec-
and to cultivate human empathy and compassion. We strive
tively use film as an instructional tool to motivate students
to prepare students for effective participation in the world
in learning about and engaging with the world.
economy as informed global citizens.
Journeys in Film transforms entertainment media into edu-

cational media by using feature-length, domestic and inter- Our Middle School Program for Global Understanding
national narrative and documentary films to engage students
To be prepared to participate in tomorrow’s global arena,
in active learning. Selected films are used as springboards
students need an understanding of the world beyond their
for lesson plans in math, science, language arts, visual arts,
own borders. Journeys in Film offers innovative and engag-
and social studies, as well as on critical current topics:
ing tools to explore other cultures and social issues, beyond
human rights, poverty and hunger, stereotyping, environ-
the often negative images seen in print, television, and film
mental sustainability, global health and pandemics, refugee
media. For today’s media-centric youth, film is an appropri-
issues, gender roles, and the status of girls throughout
ate and effective teaching tool. Journeys in Film has carefully
the world. Prominent educators on our team consult with
selected quality films that tell the stories of young people
filmmakers and cultural specialists in the development of
living in locations that may otherwise never be experienced
curriculum guides. Each guide is dedicated to an in-depth
by your students. Students travel through these characters
exploration of the culture and issues depicted in a specific
and their stories: They drink tea with an Iranian family in
film. The guides merge effectively into teachers’ existing
Children of Heaven, play soccer in a Tibetan monastery
lesson plans and mandated curricular requirements, provid-
in The Cup, find themselves in the conflict between urban
ing teachers with an innovative way to fulfill their school
grandson and rural grandmother in South Korea in The Way
districts’ standards-based goals.
Home, and watch the ways modernity challenges Maori tra-
Our research supports the founding premise that film can be ditions in New Zealand in Whale Rider.
a powerful ingredient in a school curriculum.
6 Journeys in Film: Kahlil Gibran’s The Prophet

Documentary Films on Contemporary and
Historical Topics
In addition to our ongoing development of teaching guides

for culturally sensitive foreign films, Journeys in Film
brings other outstanding and socially relevant films to the
classroom. We have identified exceptional narrative and
documentary films that teach about a broad range of social
issues in real-life settings such as famine-stricken and
war-torn Somalia, a maximum-security prison in Alabama,
and a World War II concentration camp near Prague. The
curriculum guides from Journeys in Film help teachers inte-
grate these films into their classrooms, examining complex
issues, encouraging students to be active rather than passive
viewers, and maximizing the power of film to enhance criti-
cal thinking skills and to meet the Common Core standards.
Journeys in Film is a 501(c)(3) nonprofit organization and is a project of the USC Annenberg Norman Lear Center,
a nonpartisan research and public policy center that studies the social, political, economic, and cultural impact of
entertainment on the world—and translates its findings into action.

A Letter From Liam Neeson
Working in films such as Michael By using carefully selected foreign films that depict life in
Collins and Schindler’s List, I’ve other countries and cultures around the globe, combined
seen the power of film not only with interdisciplinary curriculum to transform entertainment
to entertain, but also to change media into educational media, we can use the classroom to
the way audiences see themselves bring the world to every student. Our foreign film program
and the world. When I first met dispels myths and misconceptions, enabling students to over-
Joanne Ashe, herself the daughter come biases; it connects the future leaders of the world with
of Holocaust survivors, she each other. As we provide teachers with lessons aligned to
explained to me her vision for a new educational program Common Core standards, we are also laying a foundation for
called Journeys in Film: Educating for Global Understanding. understanding, acceptance, trust, and peace.
I grasped immediately how such a program could transform
In addition to our ongoing development of teaching
the use of film in the classroom from a passive viewing
guides for culturally sensitive foreign films, Journeys in
activity to an active, integral part of learning.
Film has begun a curricular initiative to bring outstanding
I have served as the national spokesperson for Journeys in documentary films and popular feature films to the class-
Film since its inception because I absolutely believe in the room. Journeys in Film has identified exceptional narrative
effectiveness of film as an educational tool that can teach and documentary films that teach about a broad range of
our young people to value and respect cultural diversity and social issues, in real-life settings such as an AIDS-stricken
to see themselves as individuals who can make a difference. township in Africa, a maximum-security prison in Alabama,
Journeys in Film uses interdisciplinary, standards-aligned and a World War II concentration camp near Prague.
lesson plans that can support and enrich classroom pro- Journeys guides help teachers integrate these films into their
grams in English, social studies, math, science, and the arts. classrooms, examining complex issues, and maximizing the
Using films as a teaching tool is invaluable, and Journeys in power of film to enhance critical thinking skills, a Common
Film has succeeded in creating outstanding film-based cur- Core goal. I am particularly pleased that Journeys in Film
riculum integrated into core academic subjects. has developed this guide for Kahlil Gibran’s The Prophet.

Please share my vision of a more harmonious world where
cross-cultural understanding and the ability to converse
about complex issues are keys to a healthy present and a
peaceful future. Whether you are a student, an educator, a
filmmaker, or a financial supporter, I encourage you to par-
ticipate in the Journeys in Film program. (Journeys in Film
is a 501(c)(3) nonprofit organization.)
Please join this vital journey for our kids’ future. They are
counting on us. Journeys in Film gets them ready for the
world.
Sincerely,
National Spokesperson
Journeys in Film

Introducing the Film Kahlil Gibran’s The Prophet
On the imaginary island of Orphalese, the poet and artist from France, Dubai, Poland, Ireland, and the United States
Mustafa continues his writing and painting, despite being directed the animation, each with free rein to interpret and
under house arrest for many years. He is looked after by illustrate a poem. The animations, all very different from
Kamila, a beautiful housekeeper, and Hakim, his friendly each other, nevertheless blend seamlessly into the main
guard. Kamila’s troubled, silent young daughter, Almitra, story.
forms an unlikely friendship with Mustafa. When he is
Viewers of all ages will find much to admire in the film.
released from house arrest and ordered to leave the coun-
Children will enjoy the adventures of the mischievous little
try, she trails along. On the way, Mustafa passes by a village
Almitra and her equally mischievous seagull companion as
wedding, an outdoor café, and a marketplace. At each place,
they perch on rooftops, share purloined snacks, and tor-
the poet is asked to share his wisdom with the townspeople.
ment the mean and gluttonous Sergeant. Older students
Immensely popular and revered by the townspeople, he is
and adults will appreciate both the film’s humor and its
increasingly perceived as a threat by the authoritarian gov-
poignancy as they compare Orphalese with the repressive
ernment of Orphalese.
regimes we know too well; they will acknowledge Mustafa’s
The film is inspired by Kahlil Gibran’s beloved book of courage as a man who, like the most devoted of today’s
poetic essays, The Prophet, but there is so little plot in the activists, values his principles even more than life itself.
original story—just a man waiting for a ship and addressing Kahlil Gibran’s The Prophet portrays the human soul’s tri-
his followers, that producer Salma Hayek felt that addi- umph over oppression through beauty, art, music, friend-
tional background, characterization, and events would make ship, loyalty, tolerance, and love.
the film more accessible and more appealing to families.
Gibran was a man who believed strongly in unity in diver-
She and the other producers turned to writer and director
sity. The way that the film Kahlil Gibran’s The Prophet was
Roger Allers, best known for the Disney film The Lion King,
conceived, financed, produced, and released, and the way
to write the storyline and to give direction to the main
that animators from many countries and cultures united
narrative. With a setting that is deliberately ambiguous, the
to illustrate this story, reflect Gibran’s view of the world,
events could happen anywhere in the Mediterranean, with
his idea that we are all part of a multifaceted culture and
many characters modeled after people Allers met in Crete as
design.
a young man.
An animated narrative becomes a frame story in which mar-

velous and dreamlike animations are embedded. As Mustafa
discourses on love, marriage, work, and other major life
issues, the child Almitra’s imagination soars and the viewer
is engaged in fantastical and magical interludes that inter-
pret the philosophical messages. Several different artists

Director: Roger Allers
Producers: Salma Hayek, Clark Peterson, José Tamez, and Ron

Senkowski
Executive Producers: Steve Hanson, François Pinault, Jeff Skoll,

Jonathan King, Julia Lebedev, Leonid Lebedev, Naël Nasr, Haytham
Nasr, Jean Riachi, Julien Khabbaz, and William Nix
Cast: Liam Neeson, Salma Hayek, Quvenzhané Wallis, John

Krasinski, Frank Langella, and Alfred Molina
Animation Directors:
Michal Socha, On Freedom (Poland)
Nina Paley, On Children (United States)
Joann Sfar, On Marriage (France)
Joan Gratz, On Work (United States)
Bill Plympton, On Eating and Drinking (United States)
Tomm Moore, On Love (Ireland)
Mohammed Saeed Harib, On Good and Evil (Dubai/France)
Paul and Gaetan Brizzi, On Death (France)
Art Director: Bjarne Hansen
Composer: Gabriel Yared

Additional Music by Lisa Hannigan, Glen Hansard, and Damien Rice
Special Performance by Yo-Yo Ma
Running length: 84 minutes
Awards: Nominated for World Soundtrack Award, Composer of the

Year—Gabriel Yared

A Letter From Salma Hayek
The first time I ever saw the book
The Prophet, by Kahlil Gibran,
I was not even six years old. My
PHOTOGRAPHER: GEORGES BIARD
Lebanese grandfather kept it by

his bedside. I was too young to
read it, but I understood that it
was a little treasure for him, and I
was intrigued by its contents and
the drawing of the mysterious man on its cover.
It wasn’t until my late teens that I actually experienced its

beauty and power, and for many years I have continued to
do so because every time I read it, I experience it in a com-
pletely different way. It magically takes my mind into new
places that I thought I already knew. Gibran’s words move
me in an intimate way, and have done so for millions of peo-
ple. The book has sold more than 100 million copies around
the world, and it’s one of the most beloved books ever.
In an effort to celebrate Kahlil Gibran’s writings, we have

created a film that visually and musically takes you on an
adventure into his poetry and wisdom. So, on behalf of
everyone involved in making this film, we invite you to
explore the film and the book, and to discover for yourself
the joy of Kahlil Gibran’s world.
Salma Hayek

Notes to the Teacher
If [the teacher] is indeed wise he does not bid you enter the house of his wisdom,
but rather leads you to the threshold of your own mind.
— Kahlil Gibran
These words, from a poem by Kahlil Gibran called “On with a survey of some of his paintings demonstrating how
Teaching,” exhort teachers to practice humility and chal- the film’s embedded animations reflect the influences of the
lenge us: How do we lead our students to the thresholds author’s visual style.
of their own minds? This curriculum guide will help you
The eight shorter English language arts lessons focus on
achieve that goal by introducing lessons that encourage both
the poems and dreamlike animation sequences embedded
critical thinking and creativity.
in the story of Almitra and the poet Mustafa. Each lesson
Kahlil Gibran’s The Prophet is a film that appeals to students is designed in three parts, so that students can analyze the
of all ages. The lessons in this guide will help you to use the poem, review important terms for the study of poetry, and
film in the classroom to further your curricular goals. They produce their own creative writing. The content and objec-
have been developed by experienced classroom teachers and tives of each lesson determine the order in which these three
are aligned with Common Core State Standards. The lessons parts are presented.
may be taught as a unit, or individual lessons may be used
Finally, there is a film literacy lesson that teaches students to
independently.
look at not just a film’s message, but also how it conveys its
The opening lesson introduces students to Kahlil Gibran’s life message. Students learn to use a contemporary film vocab-
and philosophy. As a Lebanese-born adolescent, he moved to ulary that is more usually applied to live-action films, as a
the United States, where he first learned English. He returned way of analyzing directorial choices in animation.
to his native land for Arabic studies and, finally, continued
The film Kahlil Gibran’s The Prophet and the accompanying
his artistic education in Paris, becoming a true cosmopolitan
curriculum guide may be used independently or in conjunc-
figure. Gibran’s 1923 book, The Prophet, universally known
tion with the study of the book The Prophet in world litera-
and loved, has sold more than 100 million copies and has
ture, American literature, poetry, creative writing, and even
been translated into more than 50 languages.
Advanced Placement literature classes. It is important that
Although best known as a writer, Gibran was also a visual students understand the textual differences between the orig-
artist who took pride in designing and illustrating all his inal book and the film. Almustafa, “the chosen and beloved,”
books. The second lesson in the curriculum gives students the “prophet” in the original book, becomes in the film the
insight into the artistic traditions that influenced his work, character Mustafa, a poet. Similarly, in the book, Almitra is a

“seeress” or mystical figure, not the film’s mischievous young Additional Resources
girl. And in the original text, repressive state officers do not
http://www.poetryfoundation.org/bio/kahlil-gibran
threaten and exile Almustafa; he simply awaits the arrival of
Biography of Kahlil Gibran and a list of his writings
his ship. Gibran’s exact words have occasionally been edited
for the eight poems presented in the film. It may be valuable http://www.gibrankhalilgibran.org/Home/
for students to explore more completely the 28 poems of the A gallery of paintings owned by the Gibran National
original text. Committee (in Lebanon).
Several lessons suggest showing the full film Kahlil Gibran’s http://gibrankgibran.org/eng/gibran-kahlil-gibran/
The Prophet in one sitting. If you are teaching the entire English translations of essays on the life of Gibran Kahlil
unit, you should decide whether to show it once or several Gibran, Lebanon His Motherland, Academic Review,
times. The film clips of the embedded animations used in Unpublished Texts and a Catalogue of original art and pho-
the lessons are indicated by starting and stopping numbers. tos from Gibran el Profeta. Museo Soumaya, Carlos Slim
Please note that these are approximate, depending on your Foundation, Mexico City, Mexico. 2009.
specific version of the film. Some clips include a bit of the
Bushrei, Suheil B., and Joe Jenkins. Kahlil Gibran, Man
main story because the poem recitation begins before the
and Poet: A New Biography. Oxford, England: Oneworld
animation or continues after it. Take the time to set up your
Publications, 1998. Print.
projection method before the class begins and bookmark
the clip you wish to use so that you can integrate the film Gibran, Jean, and Kahlil Gibran, Kahlil Gibran, His Life
clip smoothly into your instruction. New and used printed and World, first published New York Graphic Society, Ltd.,
copies of The Prophet are readily available in bookstores and 1974. Updated and revised with Foreword by Salma Khadra
libraries, and over the Internet. A new paperback edition is Jayyusi, Interlink Publishing Group, 1991. Scheduled for
due for release in conjunction with the release of the film revision, Interlink Publishing Group, 2015. Print.
Kahlil Gibran’s The Prophet.
Waterfield, Robin, Prophet: The Life and Times of Kahlil
Gibran. New York: Penguin Books, 1998. Print.

Lesson 1 (ART HISTORY, PHILOSOPHY, SOCIAL STUDIES,
ENGLISH LANGUAGE ARTS)
Who Was Kahlil Gibran?

Enduring Understandings
Kahlil Gibran’s life is a model for our increasingly global world.
• Kahlil Gibran’s early experiences shaped his beliefs in
Born in Lebanon, he came to the United States at the age of 12,
maturity.
attending school in Boston and later in Beirut and Paris before
• In his poetry and spirituality, Gibran often reconciled moving to New York City. He adapted quickly to American
apparent opposites in a higher unity. culture, but retained his love for his homeland, second only to
love for a spiritual, transcendent view of mankind. He wrote
• The courage to stand alone and stand out gave Gibran
in both English and Arabic; his work shows elements of many
his unique, powerful, timeless voice.
religious faiths and great understanding of their commonal-
ities. This lesson will familiarize students with his life and his
belief in our essential human unity; it will ask them to theorize
Essential Questions
about some of the many ways that Gibran’s work is so relevant
• How did Gibran serve as a bridge between periods, to today’s divided world.
places, and cultures?
Gibran was born on January 6, 1883, to a Maronite Catholic
• Why is there such a wistful sadness in so many places family in Bsharri, in what is now northern Lebanon. Gibran
in Gibran’s writings? had an older half-brother named Peter, and two younger
sisters, Mariana and Sultana. When Gibran was eight years
• What is the relationship between Gibran’s visual art
old, his father was sent to prison for tax evasion, and the
and written work?
family lost their home and had to go to live with relatives.
Gibran’s mother, Kamila, soon decided that they should
leave for the United States, following a cousin who had left
earlier. Gibran’s father, after being released from prison,
remained behind in Lebanon.
According to Ellis Island records, Gibran, with his mother

and siblings, arrived in New York City on June 17, 1895.
The family settled in Boston, which at the time had the sec-
ond-largest Lebanese and Syrian communities in the United
States, after New York. At school, Gibran was placed in a class
for immigrant children who needed to learn English, and his
name was altered from Gibran Khalil to Kahlil Gibran.

Gibran’s story is a good example of the immigrant experi- Gibran died in 1931 in New York at the age of 48.
ence in the United States around the turn of the century. He According to his wishes, he was buried in his hometown of
was invited to be involved in the Dennison House, a local Bsharri in Lebanon, where a museum has been developed
community center, or “Settlement House,” an institution around his gift of the contents of his studio.
that helped many immigrants in large cities to learn English,
The lesson consists of three parts. Near the end of the film
understand American ways, care for their children, and
Kahlil Gibran’s The Prophet, the Pasha of Orphalese reads
become adjusted to life in the United States—starting to
aloud Mustafa’s words about nations and demands that he
achieve what became known as “the American Dream.”
renounce them or be put to death. Mustafa refuses, and will
It was through this involvement that his drawings attracted eventually face the firing squad. Interestingly, the words
his teachers’ attention. He was introduced to Fred Holland quoted by the Pasha are not to be found in the book The
Day, a well-known publisher and talented photographer Prophet, but in a later work, The Garden of the Prophet.
who expanded the young immigrant’s cultural horizons and The tempo of the lines in this latter work have a biblical
encouraged and supported his artistic aspirations. In 1903 cadence, as in a prophet scolding Israel, or Jesus warning
the poet Josephine Preston Peabody sponsored Gibran’s the hypocrites of his age with a repeated series of “Woe to
first solo art exhibition at Wellesley College. A year later you….” The first part of this lesson asks students to study
Day held an exhibit of Gibran’s works at Boston’s Harcourt the longer writing from which the filmmakers excerpted the
Studios, where the 21-year-old artist met Mary Elizabeth passage for which Mustafa was condemned and to deter-
Haskell, the headmistress of a girls’ school; her finan- mine its relevance to the contemporary world.
cial patronage and personal support would prove crucial
The second part of the lesson involves another Gibran
throughout his career. From 1908 to 1910, he studied art in
work, one in which he took a larger perspective than that of
Paris and in 1912 he settled back in New York, in the 10th
nationalism, closer to what we now call “global citizenry,”
Street Studios in Greenwich Village, where he devoted him-
or what Gibran often called “cosmopolite.” His spiritual
self to painting and writing.
views insisted on the deep and abiding unity of all human-
Gibran’s early works were written in Arabic, but from 1918 kind, despite the fact that people come from many diverse
on he published mostly in English—although he did con- races, religions, languages, and countries. His beliefs were
tinue to write in Arabic, mostly on political or cultural sub- triggered by certain aspects of the conflicts of World War I
jects relating to the Arab world. Gibran’s masterpiece, The and the tragic history of Lebanon, a country that had suf-
Prophet, was published in 1923. Kahlil Gibran, The Collected fered from internal sectarian strife, conflicts with neighbors,
Works, published by Everyman’s Library in 2007, contains and control of its destiny by outside powers. In this part of
12 of his major English books; they were originally pub- the lesson, students read Gibran’s poem “A Poet’s Voice”
lished in the United States by Alfred A Knopf. and consider its value in the contemporary world.

The conclusion of the lesson considers Gibran’s biography,

Materials
although, as Gibran might argue, his thoughts and work
Photocopies of Handouts 1–3
are more important and enduring than the incidentals of
his personal life. Students research the facts and events of Gibran’s poem “A Poet’s Voice” from Tears and a
Smile, also known as Tears and Laughter, trans-
Gibran’s personal life and career and then draw conclusions
lated by H. M. Nahmad. New York: Knopf 1948. It
about how they might have influenced his philosophy. can be found in Kahlil Gibran: The Collected Works,
Everyman’s Library 2007).
For additional information about Kahlil Gibran’s life, see
the following websites: Pen or pencil
http://www.poetryfoundation.org/bio/kahlil-gibran#poet Journal or notebook
http://www.poemhunter.com/Kahlil-gibran/biography/ Student Internet access
https://www.library.cornell.edu/colldev/mideast/gibrn.htm
https://www.thegibranprojects.com
http://leb.net/gibran/
http://gibrankgibran.org/eng/gibran-kahlil-gibran/
notas-biograficas/
Duration of the Lesson
Two or three class periods
Assessment
Class discussions
Journal entries
Completion of Handouts 2 and 3

Procedure views expressed by Almustafa? Which of his statements
do you agree or disagree with? Why? Would his views
Part 1: “Pity the Nation” prove to be a challenge, a help, or a threat to leaders of
nations today? What would Almustafa say if he looked at
1. Pass out Handout 1: “Pity the Nation.” Have students
our contemporary world?
read the poem aloud, one line at a time, going around
the class to involve many students.
Part 2: Exiles as Global Citizens
2. Ask if there are any questions on the basic meaning of
the words and phrases; Gibran writes with a traditional 1. Start the class with a journal-writing assignment for five
linguistic structure that often echoes the style of the King to seven minutes as a warm-up, using the following
James Bible. prompts:
3. Divide the class into seven small groups and assign each a. What do we mean when we talk about our rela-
group one of the lines that includes the phrase “Pity the tionship with our native land, the country of our
nation.” Explain to students that they are going to take birth, our homeland? How does such a relationship
apart and analyze each line and present their interpreta- develop?
tions to the class. They will need to brainstorm answers
b. What does it mean to be an exile?
to each of the questions on the handout and fully discuss
them. Tell them that they should record their answers to c. Are there any positive aspects to being an exile?
the questions.
2. Hold a class discussion about the students’ responses to
4. Give the small groups approximately 20 minutes to work the journal prompts. (Be particularly sensitive to stu-
on these three questions, writing their ideas and answers dents who have come from other countries.)
in their journal or notebook. Visit the groups to encour-
3. Share the following information with the class: The
age them and stimulate their thinking, especially perhaps
writer Vera Linhartova, an exile from the former nation
with the brainstorming of historical examples.
of Czechoslovakia, said that exile sends one “toward
5. Bring the class back together and have someone from another place, an elsewhere, by definition unknown
each of the groups share the group’s findings and think- and open to all sorts of possibilities…. The writer is
ing about the questions. above all a free person, and the obligation to preserve
his independence against all constraints comes before
6. To conclude, ask them to consider all the answers that
any other consideration. And I mean not only the insane
they have heard during the reports. Hold a discussion
constraints imposed by an abusive political power, but
around questions like these: What do you think of the
the restrictions—all the harder to evade because they

are well-intentioned—that cite a sense of duty to one’s

country.”* Ask students what they believe Linhartova is
saying about exile.
4. Distribute Handout 2: A Poet’s Voice. Have students

read Gibran’s poem “A Poet’s Voice” several times. Give
students time to complete the handout and their journal
entries. When they are finished, ask them to share their
ideas with a partner or with the class.
Part 3: Gibran’s Biography
1. Distribute Handout 3: Gibran: A Life in Art and

Letters. Give students time to research Gibran’s life and
answer the questions. This could be assigned for home-
work.
2. When the class reconvenes, have students review their

answers. (See the information about Gibran’s life in
Notes to the Teacher.) Conduct a class discussion about
the last question, allowing students to speculate on how
Gibran’s life shaped his work. Be sure to have students
consider their responses to Parts 1 and 2 of this lesson as
well in formulating their conclusions.
* Quoted by Milan Kundera in Encounter (Harper Collins, New York, 2009), pp. 103-05.

Handout 1 ‘Pity the Nation’

Directions:
Read the following words of Almustafa, excerpted from The Garden of the Prophet1, a book by Gibran published posthu-
mously in 1933. Circle the line that your teacher assigns to your group. Then discuss that line of the poem, using the follow-
ing questions as a guide:
a. Why would the action or attitude described be considered pitiful? What would be the consequences of a
nation behaving in this way?
b. What would the opposite behavior look like? In Almustafa’s opinion, what would be a positive way for a
nation to conduct itself?
c. What possible examples from history and real life do you think Gibran might be drawing upon? What exam-
ples can you think of, whether large or small, recent or long ago?
“[P]ity the nation that is full of beliefs and empty of religion.”
“Pity the nation that wears a cloth it does not weave, eats a bread it does not harvest, and drinks a wine that flows not from
its own winepress.”
“Pity the nation that acclaims the bully as hero, and that deems the glittering conqueror bountiful.”
“Pity a nation that despises a passion in its dream, yet submits in its awakening.”
“Pity the nation that raises not its voice save when it walks in a funeral, boasts not except among its ruins, and will rebel not
save when its neck is laid between the sword and the block.”
“Pity the nation whose statesman is a fox, whose philosopher is a juggler, and whose art is the art of patching and mimicking.”
“Pity the nation that welcomes its new ruler with trumpetings, and farewells him again with hootings, only to welcome
another again with trumpetings.”

Handout 2 ‘A Poet’s Voice’

Directions:
Read “A Poet’s Voice.” This is a selection from Kahlil Gibran’s book A Tear and a Smile. Then work individually to answer
the following questions:
1. What were your first thoughts and responses as you read “A Poet’s Voice”?
2. What are Gibran’s views of humanity?
3. What do you think he considers the greatest cause of evil? Do you agree? Why, or why not?
4. What do you think he believes to be the greatest virtue? Do you agree? Why, or why not?
5. Ancient religions and modern physics both state that all things are connected and intertwined. Gibran felt the full force of
the idea that all of humanity is truly a single family. Write a journal entry of a least a full page completing this sentence
and expanding on it: “If everyone fully felt and believed that all of humanity was his or her family, then.…”

Handout 3 Kahlil Gibran: A Life in Art

and Letters
Directions:
Research the life of Kahlil Gibran to answer the following questions:
1. Where was Kahlil Gibran born?______________________________________ When? ____________________________
2. What religion did his family practice? ____________________________________________________________________
3. What events disrupted his family life when he was eight?
4. Why did he come to the United States?
5. Where did he attend school?
6. How did he become an artist?
7. What role did Mary Elizabeth Haskell play in his career?
8. What language(s) did he use for his writing?
9. When was The Prophet published? How was it received?
10. When did Gibran die? ____________________
11. How might events in Gibran’s life have influenced his writing?

Lesson 2 (ART, ART HISTORY)
The Art of Kahlil Gibran

Kahlil Gibran is well known for his writing, particularly his
• Gibran was an important Lebanese-American writer,
book The Prophet, which has sold millions of copies over
artist, and publisher.
almost a century. (Lesson 1 addresses his biography and
• Although The Prophet: 26 Poetic Essays has been some of his writings.) Here is some background informa-
published in more than 50 languages and has sold tion on Gibran as an artist:
millions of copies, Gibran also considered himself
• He produced more than 700 paintings, watercolors,
an artist.
and drawings.
• Gibran did not identify with modern art and preferred
• He illustrated his own writings (more than 20 books).
more traditional styles.
• Three contemporary people had major influences on
• Many visual and literary artists influenced Gibran’s
him as an artist:
work.
• Fred Holland Day, whom he met in 1896, was an
avant-garde Boston artist, photographer, and pub-
Essential Questions lisher; a Romantic, he believed in art for art’s sake.
• The poet Josephine Prescott Peabody, who first

• What, and who, were the influences on Gibran’s work? referred to him as a “prophet” in conversations
• How are these influences used in the film? with friends and ultimately wrote about him in her
poem titled “The Prophet.”
• What style would you choose to use to illustrate a
poem or essay? Why? • Mary Haskell, whom he met in 1904 and who
became his patron.
• His first exhibition of drawings was mounted in 1904;

within the year, the entire collection was destroyed by
fire.
• He formed an important cultural society of Arab-

Americans in 1911.
• The Prophet, published in 1923, was his most influential

work.

• He had little affinity for much of the modern art com-
Standards addressed by this lesson
ing in from Europe in the 1920s.
• Influences on Gibran’s work were Islamic/Arabic

Art, Classicism (particularly Leonardo da Vinci), [Note: The Common Core State Standards Initiative
Romanticism (especially William Blake and Auguste has not yet developed national standards for the arts.
Therefore, we have listed two sets of standards. The
Rodin), the Pre-Raphaelite Brotherhood, Symbolism,
first was developed by the Consortium of National Arts
and Surrealism. Education Associations. A full set of these standards may
be found at http://artsedge.kennedy-center.org/educa-
The lesson begins with a showing of the film Kahlil Gibran’s tors/standards.aspx. The second set of standards comes
The Prophet. It would be helpful to watch clips of the from Mid-continent Research for Education and Learning
(McREL). Since 1990, McREL has been systematically
embedded animations in the film more than once.
collecting, reviewing, and analyzing state curriculum
documents in all subject areas. McREL publishes a report
After a short introduction to Kahlil Gibran as an artist, stu-
on this work, called Content Knowledge: A Compendium
dents see a PowerPoint presentation about the styles of art of Standards and Benchmarks for K–12 Education, and
that had an influence on him. While it is preferred that you also has these standards and benchmarks available on
their website at http://www.mcrel.org/compendium/
show the PowerPoint in class to supplement it with your
browse.asp. In the standards for this lesson plan, you
own and students’ observations, you can also have the stu- will be able to recognize the corresponding subject-area
dents review the PowerPoint online. A handout helps them standards for your state, even if the language is slightly
different.]
take notes on the PowerPoint and class discussion. After
becoming familiar with the main influences on Gibran’s
work, you should survey more of his paintings at http:// National Standards for the Visual Arts Education
www.gibrankhalilgibran.org/PhotoGallery/ and http://gibrank- Content Standard #1. Students conceive and create
gibran.org/eng/catalogo/archivo-plastico/. Next, students works of visual art that demonstrate an understanding
look at some of the stills from the animations in the film of how the communication of their ideas relates to the
media, techniques, and processes they use.
and consider if any of these influences are visible there.
Content Standard #3. Students reflect on how artworks
Finally, students choose a poem from the book The Prophet differ visually, spatially, temporally, and functionally, and
to illustrate. (Alternatively, they could choose a poem from describe how these are related to history and culture.
another author that sparks an emotional response from Content Standard #5. Students reflect analytically on
them, or even write one themselves.) various interpretations as a means for understanding and
evaluating works of visual art.
If you have students who might benefit from having a
printed copy of the PowerPoint slides in front of them as
the class watches the slideshow, prepare these ahead of time.

McREL Visual Arts standards addressed by this lesson Materials

Film Kahlil Gibran’s The Prophet and method
of projection
1. Understands and applies media, techniques, PowerPoint slideshow and method of projection
and processes related to the visual arts
2. Knows how to use structures (e.g., sensory qualities,
organizational principles, expressive features) and Oil pastels
functions of art Watercolor
3. Knows a range of subject matter, symbols, and
Colored pencils and water-color pencils
potential ideas in the visual arts
Color wheel
4. Understands the visual arts in relation to history and
cultures Sketch paper and pencils
5. Understands the characteristics and merits of one’s Watercolor paper, 140 pound (cold-pressed is fine)
own artwork and the artwork of others
Newspaper or large craft paper to protect tables
Student access to computers
Two or three class periods, plus time to view the film Procedure
Art History
Assessment 1. Before viewing the film, advise students to pay particular
Class discussion attention to the scenes when Mustafa speaks on the var-
ious subjects such as love and marriage, in order to note
Note-taking sheet
the various styles the animators have chosen to illustrate
Rubric for illustrated poem
the passages.
2. Show the film, which has an 84-minute run time. This

may take several days, depending on the length of your
class periods.
3. After students have watched the film, give them some

time to express their reactions to the animation and the
story line.

4. Explain that the film is based on the work of a poet/ Suggested answers, by slide number:
philosopher, Kahlil Gibran, who wrote a book called The
17. Symbolism, Romanticism
Prophet. Tell students that Gibran began his career as a
18. Symbolism
visual artist and that the purpose of today’s class is to
19. Romanticism
learn about his art and the influences that shaped it.
20. Arabic; students may see stylized Romanticism,
5. Introduce students to Gibran using the information Classicism, and Symbolism elements as well.
in Notes to the Teacher, above. When you reach the 21. Romanticism, Surrealism, Symbolism
topic of the influences on Gibran, distribute copies of 22. Romanticism, Symbolism
Handout 1: Influences on Kahlil Gibran, Artist. 23. Klimt, Symbolism
Tell students that they are to use it to take notes on a 24. Arabic
PowerPoint slideshow. 25. Klimt, Symbolism
6. Go through the PowerPoint presentation through slide

15. As you present each slide, talk about the various
Art Experience
artists and artworks shown. Give students time to take
notes. You may wish to show students any supplemen- 1. Have students choose a reading from The Prophet or
tary materials you have in the classroom (books, posters, another poem of their choice, or even compose a poem
etc.); for example, you could show Dali’s The Persistence themselves if they wish. Ask them to make a copy of the
of Memory when you are discussing Surrealism. After poem and think about it carefully.
slide 15, you may wish to show them additional paintings
2. Distribute Handout 2: Illustrating a Poem and review
by Gibran from the gallery at http://www.gibrankhalilgi-
it with students, allowing them to ask questions about
bran.org/PhotoGallery/.
your expectations for this project. Explain the location of
7. Tell students that some of the animators were inspired materials and how they should proceed.
by some of these same influences in creating their own
3. Meet individually with students to decide which style
art. Then show slides 16–25, allowing students to discuss
they will emulate and which materials would best fit their
some of the influences that they see in the stills from the
need for this. Encourage them to try a medium they may
film.
not have worked with before, but remind them to prac-
tice with it.
4. Follow students as they work through the other steps on

Handout 2.

5. Plan to have a showing of their work and an opportunity

for critique of their work. This would be a great way for
your students to share each other’s ideas and receive
feedback.
Additional Resources
http://www.poetryfoundation.org/bio/kahlil-gibran
An extensive biography of Gibran
http://www.youtube.com/watch?v=WsL4W5asU3A
A set of slides of Gibran and his art works, accompanied by
music
http://leb.net/gibran/
A website on Gibran’s writings, life, and art
http://www.gibrankhalilgibran.org/PhotoGallery/
A set of slides of Gibran’s art works in the Gibran Museum in
Lebanon
http://www.amazon.com/Art-Kahlil-Gibran-Telfair-Museums/
dp/093307512X
The art of Gibran at the Telfair Museums
http://gibrankgibran.org/eng/catalogo/archivo-plastico/
A catalogue of Gibran holdings in the Soumaya Museum,
Mexico City, Mexico
www.google.com
Search Google Images under “Kahlil Gibran paintings and
drawings.”

Handout 1 •p.1 Influences on Kahlil Gibran, Artist:

Note-Taking Sheet
Art Style Characteristics Artists
Arabic/Islamic
Art Patterns
Classicism
Romanticism

Handout 1 •p.2 Influences on Kahlil Gibran, Artist:

Note-Taking Sheet
Art Style Characteristics Artists
Pre-Raphaelites
Symbolism
Surrealism

Handout 2 Illustrating a Poem

Directions:
1. Choose a reading from The Prophet or a poem that you feel expresses something important to you. Make a copy of the
poem and think about it carefully.
2. Think about the styles of art you have studied in this lesson on Gibran. Decide which style of drawing or painting you will
emulate and which materials would best fit your needs for this. Consider trying a medium you may not have worked with
before, and then practice with it.
3. Color: Consider the use of colors as a statement: monochromatic with one spot of a second color for focus; warm (yellow,
red, and orange) vs. cool (blue, green, and purple) to show seasons, emotions, high and low contrast. Use the colors that
you think will work best with your theme.
4. Use sketch paper and pencil to create a rough draft of your idea.
5. Once you are satisfied with your sketch, start to create the final piece.
6. When your work is finished, sign and date it on the front bottom right. This shows pride in your work and will give you a
benchmark for the future; you can look back to see where you were as an artist at this time.
7. Follow your teacher’s directions about showing and critiquing your work.

Handout 3 Rubric for Poem Illustration

Name_________________________________________________________________________________ Date______________________________
Criterion Score
Participated in class discussion of film
Took useful notes from PowerPoint about genre and artists
Chose appropriate reading passage from The Prophet or other work
Created a workable sketch of a design that well illustrates the reading chosen
Chose a medium that would enhance the concept
Used color theory to help create an emotional response in the design
Created and completed the composition
Signed and dated the work on the front
Scoring Key Points
Exceeds expectations 4
Meets expectations 3
Progressing toward expectations 2
Needs improvement 1
Did not attempt 0

Lesson 3 (ENGLISH, LANGUAGE ARTS)
On Freedom
Remind students that freedom is not necessarily a right
• In seeking to understand the benefits of freedom, one
everywhere in the way that many people have come to
must know what the risks of freedom can be.
expect it, especially in the United States. Also point out
• Antithesis is something—an idea or a quality—that that although many people live where freedom is the norm,
is the opposite of something else. By contrasting two some may still feel that they cannot do what they wish to
subjects that are the antithesis of each other, a writer do. Gibran is trying to express a deeper message about
can help a reader form a personal opinion about the freedom that many students may struggle with. This lesson
subjects. will help students begin to recognize the nuances of what
it means to be truly free, both in their everyday lives and
Essential Questions within their own minds.
• What does Gibran believe to be the purpose of The lesson begins with students hearing a reading of the
freedom? poem “On Freedom” and seeing the film clip. Be sure your
students understand that the language in the original poem
• Why are one’s attitude and approach to one’s own is not exactly the same as the language used in the film.
freedom so important not just to oneself, but also to They then review the term antithesis so that they can use
others? this concept in understanding Gibran’s poem. The next
• How does Gibran use antithesis to explain the pros section of the lesson uses Paul Lawrence Dunbar’s poem
and cons of freedom? “Sympathy”; his line “I know why the caged bird sings”
inspired the title of Maya Angelou’s first autobiographical
• How might a writer or a poet use this technique in volume and one of her best-known poems. Students then
other ways to explore necessities in our lives? look at Maya Angelou’s poem “Caged Bird” to compare its
ideas with those of Dunbar and Gibran. Finally, they create
art projects that express their own ideas on freedom.
Dunbar (1872–1906) was a precursor of the Harlem

Renaissance; although a gifted poet in Standard English, his
poems written in black dialect were the ones that received
acclaim and publicity. Like Gibran, he died young. Angelou
(1928–2014), another African-American poet and an

activist, is best known for her autobiographies and poetry,
Materials
including her poem for the 1993 inauguration of President
Student journals
Bill Clinton, “On the Pulse of Morning.” She was a remark-
able performer, and there are many videos available online Film clip from Kahlil Gibran’s The Prophet
(14:21–16:37)
that show her reciting her poetry. Your students might be
interested in watching some of them. Copies of the poem “On Freedom”
Photocopies of Handout 1: Antithesis
Photocopies of Handout 2: Sympathy

Common Core Standards addressed by this lesson
Copies of or computer access to Maya Angelou’s
poem “Caged Bird,” which can be found at http://
CCSS.ELA-LITERACY.RL.11-12.4
www.poetryfoundation.org/poem/178948
Determine the meaning of words and phrases as they
are used in the text, including figurative and connotative Optional: Computer access or art materials for
meanings; analyze the impact of specific word choices on extension activity
meaning and tone, including words with multiple mean-
ings or language that is particularly fresh, engaging, or
beautiful. (Include Shakespeare as well as other authors.
One class period, with the option to extend the activ-

ity if desired
Assessments
Students will be assessed objectively on their com-

pletion of the antithesis worksheet. They can be
assessed subjectively on their warm-up and on their
interpretation of Maya Angelou’s “Caged Bird.”

Suggested answers to Handout 1:
Procedure
Review 1. Opposing words or ideas: temple vs. citadel; freest
among you wearing freedom as a yoke or a handcuff
1. Ask students to brainstorm a definition of freedom. As
Underlying Message: With the opposing ideas of a tem-
the students offer their thoughts about freedom, record
ple being a place of worship and a citadel being a fortress
them on one side of the board. (The other side will be
we would expect freedom to look different in a place of
used during the discussion portion of this lesson.)
peace vs. a place of war. Gibran notes that no matter
2. Ask the students to read the words on the board. Are where you are, people wear their freedom like a burden.
their thoughts similar to or different from each other?
2. Opposing words or ideas: freedom is a chain (we expect
Have the students group their ideas into categories of
freedom to be the thing that allows us to do whatever we
their own making. (Suggested categories: personal free-
want, but in reality it is restrictive)
doms, national freedoms, freedoms that come with age, etc.
Underlying Message: Freedom is the “strongest of these
By organizing their thoughts after brainstorming what free-
chains” means that some people get caught up in the
dom is, the students will be ready to read and listen to the
idea that they cannot do anything with their lives until
poem.)
they are free. Perhaps he is suggesting that freedom is
3. Explain to students that they will be reading the poem something that must be earned and is not simply a right.
“On Freedom” by Kahlil Gibran. Hand out the copies He describes it as the most beautiful chain because peo-
of the poem and let students know that the words are ple seem to think that freedom is the most important
a little different in the film, although the thoughts are thing we can have as people, but maybe we should think
the same. They are now going to work with the original of it as an unending pursuit.
words of Gibran’s text.
3. Opposing words or ideas: desired vs. dreaded; repugnant
4. Read the poem aloud as students follow silently. Then vs. cherished; lights vs. shadows; pursued vs. escaped
ask the students which parts of the poem most stand out Underlying Message: Obtaining freedom means having
to them. Ask the students why they think they were able the ability to make the choice between those things within
to recall those sections of the poem. (The comparison of us that appear to be at odds with each other. People con-
opposites is a likely response.) stantly face opposing forces and difficult decisions that
force us to make choices. From these opposing thoughts,
5. Distribute Handout 1: Antithesis. Arrange students in
it seems that Gibran is suggesting that freedom itself is a
pairs or small groups to complete the assignment.
choice. Either we can be frustrated and tied down by the
opposing things in our lives, or we can stand up to them
and choose the best option for our individual selves.

Interpret ing the poem. Have their thoughts changed? Do they see
freedom differently now? (Label the right side of the board
1. Ask the students to offer their interpretation of the
with “After reading Gibran” or something similar. Take
poem. (Freedom is something that can be attained only
notes or write key words from students’ responses on the
when we recognize the conflict it creates within us. Freedom
right side of the board.)
is best understood by noticing the many ways in which we
are and are not free in our day-to-day lives. True freedom 5. Take time to read through the responses of the students.
is unattainable because the thought that you are free is Ask them to explain what part of the poem inspired the
instantly a chain and a burden you must carry.) You may change in their understanding of the idea of freedom.
wish to compare this with the Buddhist ideal of detach-
6. Play the clip of “On Freedom” from the film
ment—i.e., freedom from desire.
(14:21–16.37).
2. Ask students: What do you think Gibran meant by the
7. Provide students with copies of Handout 2: Sympathy.
line, “You shall be free indeed when your days are not
Give students some background on Dunbar from the
without a care nor your nights without a want and a
information in Notes to the Teacher. Be sure to point
grief, but rather when those things girdle your life and
out to students that Maya Angelou’s autobiography, I
yet you rise above them naked and unbound”? (Freedom
Know Why the Caged Bird Sings, derives its title from
is about understanding your responsibilities and managing
this poem. Have the students follow along as you read it
them while staying true to your own path. Freedom is not
aloud. Have them read it again silently and make notes
about being carefree. It is about having many cares, but
of their observations and questions on the handout.
maintaining your understanding of yourself despite these
Then give them time to discuss the poem.
many things that may seem to weigh you down.)
8. Why do you think both Dunbar and the animator chose
3. Turn to Handout 1. In the excerpts, what makes the
birds to represent the idea of freedom? (Answers will
first excerpt a good example of antithetical construction?
vary. Birds have wings that allow them to fly wherever
(Students should identify the opposing ideas, pace, and use
and whenever they choose. Their very nature suggests that
of definite statement that appear to be contradicted, with
they do things completely of their own free will and are
exceptions to show the antithesis of the poet’s ideas. This
not bound by anything.) Ask students to recall how the
will be a similar process for all of the examples. You may
film Kahlil Gibran’s The Prophet made use of the images
wish to go through each one to be sure the students have a
of birds and flying to represent freedom. (Almitra pre-
true understanding of the purpose of the structure.)
tending to fly when she sees the sails of the ship; Almitra’s
4. Return to the brainstorming session on the board. Ask seagull; the wooden bird that starts to fly; the animation of
the students to look at the definitions and thoughts on birds caged and tied to a tree; the poet’s words about flying,
freedom that they recorded before reading and discuss- saying, “We are spirits.”)

9. Distribute copies or project a copy of Maya Angelou’s
poem “Caged Bird” and read it aloud.
10. Have students identify any use of antithesis by Angelou

in her poem.
11. Have a class discussion with such questions as these:

How does Angelou define freedom in her poem? Is it
the same as or different from Gibran’s description? Are
the caged birds in Angelou’s poem similar to or dif-
ferent from the birds used to illustrate Gibran’s poem
in the film? How might Angelou’s birds be depicted to
reflect her understanding of freedom?
Create
1. For homework, have students create an original work of

art using birds to represent their new understandings of
freedom. The artwork should contain both images and
words that indicate each student’s new understanding of
freedom, based on the words of the three poets they have
studied in this lesson.
2. Have students write a paragraph or more explaining the

choices that they made in creating their art project.
3. Have students present and display their artwork in class.

Handout 1 •p.1 Antithesis

Directions:
Read the definition of antithesis below. Then read the examples. What makes them good examples of antithesis?
Antithesis is a rhetorical device in which two opposites season of Light, it was the season of Darkness, it was the
appear, often in the same sentence, to create a contrast. spring of hope, it was the winter of despair, we had every-
Antithesis often uses parallel structure with similar gram- thing before us, we had nothing before us, we were all going
matical forms to make the contrast more obvious. (This is direct to Heaven, we were all going direct the other way.” —
called a balanced sentence.) Charles Dickens, A Tale of Two Cities
One main purpose of antithesis is to compare opposing ideas “The world will little note, nor long remember what we say
to place emphasis on a certain subject or issue. By examin- here, but it can never forget what they did here.”
ing the pros and cons of a subject, the reader can come to a — Abraham Lincoln, The Gettysburg Address
more reasoned judgment about that subject. In this case, is
“Patience is bitter, but it has a sweet fruit.” — Aristotle
freedom something that we can truly attain?
For each of the statements below appearing in Gibran’s
Examples of antithesis:
“On Freedom,” identify the opposing ideas in the words and/
“It was the best of times, it was the worst of times, it was or phrases. Determine what Gibran is trying to persuade the
the age of wisdom, it was the age of foolishness, it was the reader or listener to believe or understand about the nature
epoch of belief, it was the epoch of incredulity, it was the of freedom.
1. Ay, in the grove of the temple and in the shadow of the citadel I have seen the freest among you wear their freedom as a
yoke and a handcuff.
Opposing words or ideas:
Underlying Message:

2. In truth that which you call freedom is the strongest of these chains, though its links glitter in the sun and dazzle your
eyes.
Underlying Message:
3. Verily all things move within your being in a constant half embrace, the desired and the dreaded, the repugnant and the
cherished, the pursued and that which you would escape. These things move within you as lights and shadows in pairs
that cling.
Underlying Message:


Look at the poem again. Pick a different sentence or group of sentences that exhibits antithesis. Write the excerpt below
and explain why this is an example of antithesis and explain the author’s intent by using antithesis in this portion of the
poem. (Remember: Antithesis is an attempt to present contrasting ideas for emphasis and to help readers come to their
own judgment of the subject.)
Example:
Explanation:

Handout 2 ‘Sympathy’
By Paul Laurence Dunbar
I know what the caged bird feels, alas!

When the sun is bright on the upland slopes;
When the wind stirs soft through the springing grass,
And the river flows like a stream of glass;
When the first bird sings and the first bud opes,
And the faint perfume from its chalice steals—
I know what the caged bird feels!
I know why the caged bird beats his wing

Till its blood is red on the cruel bars;
For he must fly back to his perch and cling
When he fain would be on the bough a-swing;
And a pain still throbs in the old, old scars
And they pulse again with a keener sting—
I know why he beats his wing!
I know why the caged bird sings, ah me,

When his wing is bruised and his bosom sore,—
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart’s deep core,
But a plea, that upward to Heaven he flings—
I know why the caged bird sings!

On Children
Some critics have theorized that Gibran’s poem from The
• In the poem “On Children,” Gibran recognizes that
Prophet “On Children” very well might reflect Gibran’s own
children ultimately do not belong to anyone, including
childhood; his father was not a regular presence in his life,
their parents, but are independent beings with their
and his mother and two siblings died when he was a teen-
own ideas and responsibility for themselves.
ager. Others feel that the poem reflects his profound under-
• Gibran uses metaphor to express qualities of children standing of the psychology of Self and Fate. Even though
(and parents) that are otherwise hard to explain. his early life was filled with sadness, his family undoubtedly
helped to shape the person he became, along with teachers
and mentors he had both in Boston and in his home coun-
Essential Questions try of Lebanon. Gibran never had children of his own, but
his words in this poem illustrate how he felt children were
• What are Gibran’s beliefs about children and parents?
the key to the future.
• What is metaphor and why is it used in poetry?
“On Children” focuses on the idea that a child is an inde-
• How might metaphor assist the reader in developing a pendent being, not owned or controlled by his or her par-
deeper connection with a poem? ents. Gibran suggests that parents (or other adults) should
guide and nurture children so they grow to their fullest
potential. The poem clearly states that adults are not to be
in complete control of their children; rather, children need
to grow and experience life on their own, not through other
people’s ideas and desires. With this idea, Gibran implies
that the cycle of life will continue indefinitely throughout
the rest of time.
This lesson begins with a creative writing exercise in com-

posing metaphors to deepen understanding of this figure of
speech and to prepare students for the rest of the lesson. By
writing down their own personal connections with the emo-
tion of happiness, students will go into the reading of “On
Children” with an introductory understanding of metaphor.

During the second part of the lesson, students listen to “On
Children” and view the excerpt from the film. The emphasis Common Core Standards addressed by this lesson
is on the film’s interpretation and the primary metaphor in

the poem, “You are the bows from which your children as CCSS.ELA-Literacy.RL.9-10.1
Cite strong and thorough textual evidence to support
living arrows are sent forth.” (Gibran’s painting The Archer analysis of what the text says explicitly as well as infer-
may well have been the inspiration for this animation; ences drawn from the text.
images of the painting can easily be found on the Internet.) CCSS.ELA-Literacy.RL.9-10.2
Determine a theme or central idea of a text and analyze
At the end of the lesson, the extension activity encourages in detail its development over the course of the text,
students to write original poems based on the metaphors including how it emerges and is shaped and refined by
they came up with in the beginning of the lesson and on specific details; provide an objective summary of the
text.
slide 15 of the PowerPoint for Lesson 2.
CCSS.ELA-Literacy.L.9-10.5
Demonstrate understanding of figurative language, word
relationships, and nuances in word meanings.
CCSS.ELA-Literacy.RL.11-12.1
analysis of what the text says explicitly as well as infer-
ences drawn from the text, including determining where
the text leaves matters uncertain.
CCSS.ELA-Literacy.L.11-12.5
Analyze a case in which grasping a point of view requires
distinguishing what is directly stated in a text from what
is really meant (e.g., satire, sarcasm, irony, or under-
statement).


Procedure
One or two class periods, including time for students Create
to share their poems with the class.
1. Prior to listening to the poem, start the lesson by distrib-
uting copies of Handout 1: Create a Metaphor. Go
Assessments over the directions, explaining what is intended by “per-
Completion of Handout 1 sonalized,” “concrete,” and “specific.”
Class discussion 2. Direct students to write down 10 things that make them
Paragraph written at conclusion of class happy, to complete the starter sentence “Happiness is….”
(Optional) Inclusion of metaphor(s) in a creative Once they have their list, have a few students share their
writing assignment ideas.
3. Tell students that the sentences they wrote contain met-

aphors, which compare one object, action, or emotion
with another. (If students write “Happiness is like,” they
Materials will need to remove the “like” as they have now turned
Access to film clip from Kahlil Gibran’s The Prophet their phrase into a simile. Be sure to point out to stu-
(18:27–22:43) dents that a comparison between two things using like or
Photocopies of Handout 1: Create a Metaphor as is called a simile.)
Copies of the poem “On Children”
Interpret
1. Explain to students that in this lesson they will be explor-

ing metaphor in Gibran’s poem “On Children” and then
distribute copies of the poem.
2. Read “On Children” aloud while students follow the

reading. Instruct students to pay special attention to
looking out for examples of metaphor.
3. Ask students whether they picked out any metaphors as

they listened to the reading. Ask for one or two to share
their ideas. (Students will likely point out the major met-
aphor in the poem, “You are the bows from which your
children as living arrows are sent forth.”)

4. Ask the students what this phrase says about parental 9. Does the film animation correctly and effectively interpret
or adult involvement in the development of a child. what Gibran is saying in his poem? (Answers will vary.)
(Answers may include the interpretation that parents help
10. Optional: Gibran himself was a painter, and one of his
launch their children into the world, but cannot control
own paintings was clearly the inspiration for this anima-
what they become, just as the bow cannot control the
tion. Show students the painting Le Lanceur (The Archer)
arrow’s flight, once the arrow has been released.)
at http://www.gibrankhalilgibran.org/PhotoGallery/. It also
5. Ask students to explain the line, “They are the sons and may be found on the PowerPoint for Lesson 2 of this
daughters of Life’s longing for itself.” What does this line guide (Slide 15).
mean? What is “Life’s longing for itself?” (Answers will
vary, but may focus on or include the idea that creation is
a wonderful mystery; life must go on and so children are Review
created to ensure this will occur.)
1. Point out to students that a metaphor is meant to
6. Ask students to explain the line, “You may give them help explain things that might be otherwise difficult to
your love but not your thoughts.” (Parents are to give describe. By specifying and illustrating an emotion (like
their children love but not control what they think.) Do happiness), this allows for people to personally connect
they agree or disagree with this line? (Answers will vary; and better understand the idea being presented.
be prepared for a lively discussion on this topic!)
2. Have students write a paragraph in which they explain
7. Ask students about the significance of the last line of the why the central metaphor from the poem “On Children”
poem, “For even as he loves the arrow that flies, so He is or is not an appropriate one.
loves also the bow that is stable.” (The arrow is a meta-
phor for children and the stable bow actually represents the
parents who bring the child into the world. Thus, Gibran
is emphasizing the importance of the stability parents offer
a child.) Why must parents be stable for their children?
What will happen if they are not? (Answers will vary.)
8. Show the “On Children” segment from the film (18:27–

22:43). After viewing, ask students to further explain
the major metaphor discussed earlier. Were there any
metaphors in the film that are not in the poem itself?
(Students might suggest that children are birds meant to fly
on their own journey through time.)

Extension Activity
To reinforce and review the use of metaphor in poetry, have
students pick out one of the metaphors they developed and
wrote down on Handout 1: Create a Metaphor. Ask stu-
dents to write an 8- to 10-line poem including any of the
following literary devices you deem appropriate:
—at least one additional metaphor

—at least one example of alliteration (the repetition of
the same consonant sound at the beginning of words
that are next to or near each other), assonance (the
repetition of vowel sounds in a series of words near
enough for the “echoes” to be noticed), and/or con-
sonance (the repetition of similar consonant sounds
near each other in a text)
—at least one rhyme (internal rhyme or end rhyme)
Encourage students to share their work with a partner, edit

and review their work, and then share their work with the
class. You may wish to publish the poems in an online blog
or print them for display.

Handout 1 Create a Metaphor

Directions:
Come up with 10 examples of happiness. Examples should be personalized, concrete, and specific, using as much detail as
possible. Avoid using the words “like” or “as.”
Example: Happiness is freshly baked chocolate chip cookies.
Happiness is…
1. ______________________________________________________________________________________________________________
2. __________________________________________________________________________________________________
3. __________________________________________________________________________________________________
4. __________________________________________________________________________________________________
5. __________________________________________________________________________________________________
6. __________________________________________________________________________________________________
7. __________________________________________________________________________________________________
8. __________________________________________________________________________________________________
9. __________________________________________________________________________________________________
10.__________________________________________________________________________________________________

On Marriage
“On Marriage” was published in 1923, a time when the
• In the poem “On Marriage,” Gibran uses the devices
family unit was beginning to change. The horrors and
of repetition, alliteration, and assonance to emphasize
disruptions of the First World War, the millions of deaths
the poem’s most important ideas and images relating
from the influenza pandemic, and the onset of the social
to the union of two people, despite their differences
change of the Roaring Twenties all meant that change was
and need for independence from each other.
inevitable. In his own personal life, Gibran was the product
• Repetition is a technique to provide emphasis through of a broken home. His father was arrested for corruption in
the repeated use of sounds, words, or phrases within Lebanon and jailed, and his mother eventually emigrated
a literary work. from Lebanon to the United States with her children. There
she carried on an independent life, supporting her family
and establishing a business. During Gibran’s later education
Essential Questions back in Lebanon he met with his father, although their rela-
tionship remained strained.
• What are sound devices—specifically repetition,
alliteration, and assonance—and why are they used in Gibran’s poem focuses on togetherness rather than full sol-
poetry? idarity. The text encourages marriage as a union in which
the partners maintain independence and a sense of self;
• How can these sound devices highlight the main
for Gibran, marriage is not defined by chains of any kind.
idea(s) in a poem?
Gibran’s vision of the ideal marriage embraces growth in
togetherness and side-by-side independence.
This lesson focuses on some of the techniques of sound

that Gibran used. These are often the first and easiest liter-
ary devices for students to identify and understand when
learning about a poem; this study builds self-confidence
and the courage to seek out more advanced poetic devices.
The lesson begins with multiple readings of the poem “On
Marriage” and a viewing of the film clip. Discussion elicits
Gibran’s basic theme that, in a healthy marriage, the indi-
viduals are together like trees “in their branches” and “ in

their roots” but still retain their individuality and indepen- At the end of the lesson, students will write an original
dence like the trunks of these trees. Be sensitive to the fact poem in free verse about a relationship that is important
that “On Marriage” might trigger emotional responses from to them. Be flexible in helping them define a relationship;
students who have a conflicted view of this particular insti- some students may feel alienated from family and may wish
tution, especially due to the high rate of divorce in today’s to write about a friend, a teacher, or even a pet.
world; many students today also have parents who have
chosen not to marry. Therefore, flexibility in interpretation
is key when teaching this lesson. Common Core Standards addressed by this lesson
The second part of the lesson deals with three literary

devices. Repetition (a technique used to provide empha- Cite strong and thorough textual evidence to support
sis through the repeated use of sounds, words, or phrases analysis of what the text says explicitly as well as infer-
ences drawn from the text.
within a literary work*) is fairly self-explanatory. Point
out to students that items of utmost importance are often CCSS.ELA-Literacy.RL.11-12.1
repeated in order to call attention to them. Alliteration
(repetition of the initial consonant sounds in a series) is ences drawn from the text, including determining where
also simple for students to grasp. Familiar examples of allit- the text leaves matters uncertain.
eration can be found in many tongue twisters, such as “She CCSS.ELA-Literacy.L.9-10.5

sells seashells by the seashore…” or “Peter Piper picked a Demonstrate understanding of figurative language, word
peck of pickled peppers….” Assonance (a repetition of vowel
sounds, initially and/or within a word) can be more difficult CCSS.ELA-Literacy.L.11-12.5
for students to grasp. They sometimes confuse vowel sounds
with vowels and this distinction must be made clear; you
can use the book title Little Women as an example of asso-
nance occurring with different vowels. A common example
of assonance can be found in the poem “The Star” by Ann
and Jane Taylor:
“Twinkle, twinkle, little star

How I wonder what you are,
Up above the world so high
Like a diamond in the sky.
*Definitions are from the Literary Glossary of the EDSITEment website of the National Endowment of the Humanities, at http://edsitement.neh.gov/reference-shelf/
glossaries/literary-glossary-index. This is an excellent resource for teachers.


Procedure
Two or three class periods, including time for stu-
dents to read or show their original poems to the Interpret
class.
1. Explain to students that in this lesson they will be explor-
ing Gibran’s poem “On Marriage” and then distribute
copies of the poem. Read “On Marriage” aloud while
Assessments
students read silently.
Completion of worksheets
2. Ask students whether any particular words or sounds
Inclusion of three specific sound devices—repetition,
alliteration, and assonance—in creative writing stood out to them as they listened to the reading. Ask for
exercise one or two to share their ideas. (Students will likely point
out words associated with marriage, such as “together” and
“hearts.”) Then have a student read the poem aloud again,
this time having students listen specifically for the words
and sounds already noted by some students.
Materials
Access to film clips from Kahlil Gibran’s The Prophet 3. Ask the students what such words say about the institu-
(28:30–32:05) tion of marriage. (Answers may include two becoming one,
Copies of the poem “On Marriage” a union, a team, mom and dad, mom and mom, dad and
dad, etc.)
Photocopies of Handout 1: Sound Device
Scavenger Hunt Worksheet
4. Ask students to focus on the repetition of the use of
the word “alone.” Ask the class why Gibran might have
chosen to include this particular solitary word in a poem
seemingly about togetherness. (He wanted to emphasize
the independence of the marriage partners, who are united
but still remain distinct individuals.)
5. Show the segment of “On Marriage” from the film (28:30–

32:05). After viewing, ask students if they recognized the
type of dance in the segment. (The dance shown in this film
segment is the tango.) Explain that this dance is popular in
Latin American countries, especially Argentina. The name
of the dance is believed to be derived from the Latin verb
tangere, which means “to touch.”

6. Ask students to think about the connection between the Suggested answers to Handout 1:
man and the woman. Were they doing the same move-
1. The word is together(ness). This relates to marriage
ments at the exact same time? (No.) Why is this signifi-
because marriage is an event that brings two people into
cant? (Answers will vary.) Guide the student discussion
one union, one bond.
to the idea that, even though the steps are not the same,
there is still an incredible connection between the two. 2. Hearts, alone, let, another, cup, stand
Ask them to explain why this animation so well inter-
3. “white wings,” “sea between the shores of your souls,”
prets what Gibran is saying in his poem.
4. Answers will vary; examples are present in almost every
line of the poem.
Review
5. Answers will vary. The words found by identifying
1. Point out to students that the most common sound tech- sound devices are emphasized because Gibran believes
nique used in poetry is rhyme; a regular rhythm is often that these words encompass the institution of marriage
present, too. Ask if they noticed any rhyme or regular and therefore are crucial to the meaning of the poem.
rhythm in the poem. (No) Explain that a poem of this
kind is called “free verse.” 6. Answers will vary. Perhaps Gibran wishes to show that
a marriage is not about becoming one or about taking
2. Point out that Gibran did use other, more subtle sound ownership of another person, but about maintaining
techniques in this poem. Distribute Handout 1: Sound one’s independence and self-sufficiency while one’s
Device Scavenger Hunt. Teach or review with students (dance) partner does the same thing. There will be simi-
the definitions for three sound techniques: repetition, lar, complementary movements, but the relationship still
alliteration, and assonance. (See Notes to the Teacher.) emanates from the individual.
Give examples of each to the class, writing them on the
board and pronouncing them for students.
3. Arrange students in pairs or trios and have them com-

plete the Sound Device Scavenger Hunt. Explain that
they are to search for each sound device in Gibran’s “On
Marriage,” marking their copy of the poem as they go.
4. As a class, discuss the answers to the questions in the

Sound Device Scavenger Hunt.

Create
Extension Activities
1. Tell students that they will now compose their own free
To reinforce the significance of repetition, hand out copies
verse poem. Review the term if necessary. Give them the
of “Annabel Lee” by Edgar Allan Poe (http://www.poetry-
following prompt:
foundation.org/poem/174151). Have the class pull their chairs
into a circle and then instruct them to stand in a circle
Write a free verse poem of at least eight lines about an
in front of their chairs. Have them read the poem aloud
important relationship that you have with someone. The
together, listening for repetitions. Then have the class read
poem should use the following techniques to highlight
the poem aloud again, sitting down when they hear a word
the important elements of the relationship:
or phrase repeated. Each time they sit, stop the reading
• three examples of repetition
and discuss the importance of the repetition of that phrase.
• two examples of alliteration
Continue reading the poem—and stopping—as repetition is
• one example of assonance
heard throughout the second reading.
Encourage them to focus on the sound devices to appeal
to emotions, to set the mood of their piece, and to To review alliteration and assonance, obtain a copy of The
emphasize important ideas. Lorax by Dr. Seuss. Divide the class into two groups; one
group will listen for alliteration and the other will listen for
2. Give students time to brainstorm and begin writing in
assonance. As they hear examples, have them jot down the
class while you circulate to see if they have any questions
word or phrase—or, because Dr. Seuss is so visual, have
or need assistance.
them draw the sound or image they hear. After the story
is read, ask students what they heard and why Dr. Seuss
decided to highlight those particular sounds to make them
stand out.

Handout 1 Sound Device Scavenger Hunt

Directions:
In pairs or trios, complete the following scavenger hunt and questions for Kahlil Gibran’s poem “On Marriage.”
1. Find a word that is repeated eight times in the poem “On Marriage.” What is that word?
What does this word have to do with marriage?
2. What other examples of repetition can you find in this poem?
3. Write down two examples of alliteration.
4. Find three examples of assonance.
5. Looking at the examples you have found of repetition, alliteration, and assonance, why do you think Gibran put special
emphasis on these words and phrases?
6. After exploring the poem and reviewing the film segment of “On Marriage,” what do you think Gibran is attempting to
share with the reader about marriage?

On Work
It is important to make students aware that this poem is
• In seeking to understand why work is important, one
meant to be a response from the Prophet to a plowman who
must understand the value of all work.
asks him to speak of work. By viewing the poem from the
• Attitude toward one’s occupation is often more perspective of a person who may feel that his or her job is
important than the occupation itself. considered less important than another person’s work, the
students may find it easier to understand the intent of this
• Parallelism is a rhetorical device that consists of using
poem. This can be useful in the context of a school, where
a series of words, phrases, or clauses with the same
not all personnel who are essential to the smooth operation
grammatical structure.
of the school may be highly valued.
• Repetition is the agent through which parallelism
The first part of this lesson includes an exercise to help stu-
achieves its rhythm and flow.
dents understand this point of view. After multiple readings
of the poem, students engage in a journal-writing exercise
about undervalued work. They then begin a discussion of
Essential Questions
the meaning of the poem. Introducing them to the literary
• What does Gibran believe to be the value of work? concepts of repetition and parallelism allows them then to
go deeper into the meaning of the poem. A final exercise
• Why are one’s attitude and approach to work or an
asks them to write a letter to someone who might not feel
occupation so important not just to oneself, but also
his or her work is valuable; the student who can do this
to others?
clearly has grasped the essence of Gibran’s poem. In this
• How does Gibran use the devices of parallelism and letter, students will demonstrate that they understand the
repetition to express his ideas about work? concept of parallelism by including examples of it in their
paper.
• How might a writer or a poet use these devices in
other ways to explore other necessities in our lives?

Materials
Student journals
CCSS.ELA-LITERACY.RL.11-12.4 Film clip from Kahlil Gibran’s The Prophet
Determine the meaning of words and phrases as they (37:16–41:15)
are used in the text, including figurative and connotative
meanings; analyze the impact of specific word choices Copies of the poem “On Work”
on meaning and tone, including words with multiple
Photocopies of Handout 1: Parallelism and
meanings or language that is particularly fresh, engag- Repetition: Understanding the Nature and
ing, or beautiful. (Include Shakespeare as well as other Purpose of Work
authors.)
Photocopies of Handout 2: Storyboard for
“On Work” Alternative Animation
Optional: Computer access or art materials for
extension activity
One 50- to 60-minute class period with the option to

extend the activity if desired
Assessments
Objectively on students’ completion of the parallel-

ism and repetition worksheet.
Subjectively on students’ warm-ups and letters

explaining the importance of work. In the letters,
they should only be objectively graded on their three
attempts at parallel structure.

6. Ask students to look at the first line of the poem. Ask

Procedure
what they think Gibran meant by this sentence. Why
Interpret
did he choose to begin in this way? You might remind
1. Show the film clip (37:16–41:15) interpreting the poem the students that his initial audience is a plowman. (The
“On Work” and then have students listen carefully as Prophet wanted to respond directly to the plowman’s needs
you read the poem aloud. before explaining the general nature of work.)
2 Explain to the students that there is more to the original 7. After reading the poem, do the students agree with
poem and that in class they will be reading the whole Gibran that “Work is love made visible?” Why, or why
poem “On Work” by Kahlil Gibran. Tell them that this not? (Answers will vary.)
poem was written in response to a plowman (one who
turns the soil for planting crops) who asks the Prophet
Review
why we work.
1. Distribute Handout 1: Parallelism and Repetition:
3. Ask the students to think about this plowman’s job. Ask
Understanding the Nature and Purpose of Work
if they would want to do that job. Do they think the job
and read over the introductory material. Make sure stu-
would be easy or hard? Lead the class discussion toward
dents understand the difference between repetition and
the idea that this is a difficult job that may not earn
parallelism.
much respect or credit, but is necessary to our existence.
2. Organize the students into pairs or small groups to com-
4. Have the students write in their journals for five to ten
plete the assignment. Work through excerpt #1 together
minutes about a job that they feel does not earn much
to be sure students understand what is expected. Ask
respect. It might be a good idea to brainstorm various
them what makes excerpt #1 a good example of paral-
jobs if they struggle with this. When they are finished,
lel construction. (Students should identify the repeating
have the students share their thoughts and ask them to
phrases, pace, and use of definite statement that are contra-
keep these in mind while listening to “On Work.”
dicted with exceptions to show the parallelism of his work.)
5. Hand out the copies of the poem “On Work” and have
3. Give students time to work with their partners to
one or more students read it aloud. Ask the students to
complete the handout. Then go through their answers
offer their interpretation of the main idea the poem is
together, understanding that there may be reasonable
expressing. (Examples: Work is necessary because it gives
variation in what they think is the underlying meaning
us purpose. Work is best when you love what you do and
for each excerpt.
respect the work of others, as well.)

4. Write the following on the board after reviewing the excerpt
exercise on the worksheet: “If you do not like crushing
grapes to make wine, then you should not crush grapes If time allows or interest is piqued, show again the section
to make wine because the wine will taste like you have of the film in which this poem is recited and interpreted
poisoned it.” Ask the students to compare this statement with animation. (37:16–41:15) Ask the students to imagine
with excerpt #3 on the worksheet. Which statement is a illustrating the poem in a different way. Either individually
clearer expression of the message? Which one sounds more or in groups, have students prepare storyboards with at least
refined? Why is this the case? (The Gibran quote is more four shots that show how they might illustrate their favorite
refined because it uses parallelism and repetition to express part of the poem or the whole poem. You may wish to use
an opinion in a concise manner. The Gibran statement is also Handout 2: Storyboard for “On Work” Alternative
superior because the syllables of each clause are balanced. This Animation or have students make their own storyboards on
Gibran statement is more successful because it employs the poster board, newsprint, or other large paper.
technique of parallelism and provides both the reader and the
listener with a clear image and a concise thought.)
Create
This part of the lesson may be assigned as homework. Have
the students write a paper of at least one page responding to
the following prompt:
Take the excerpt you chose for #4 on the handout and

use this as the basis for a letter to someone who sees
his or her work as unnecessary or as less valuable than
the work of others. In the letter, copy the excerpt and
explain in your own words what the statement says
about work. Then explain to the recipient of the letter
how this excerpt applies to his or her situation.
In your letter, use parallel structure in at least three places

to express your appreciation for the recipient’s work. Be
conscious of the feelings of the recipient of the letter and
show appreciation and understanding for the work done
by all people.

Handout 1 •p.1 Parallelism and Repetition:

Understanding the Nature and
Purpose of Work
Name_________________________________________________________________________________ Date______________________________
Read the definitions of repetition and parallelism below. Then read the examples. What makes them good examples of
parallel structure?
Repetition: Repetition occurs when the same word or phrase is used several times in order to add emphasis. For example,
Walt Whitman’s poem that begins “Beat! beat! drums!—blow! bugles! blow!” has two examples of repetition.
Parallelism: Parallelism occurs when the same grammatical structure appears repeatedly in a series of words, a series of
phrases, or a series of clauses.
Examples of parallelism:
“You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the
time.” — Abraham Lincoln
“Ask not what your country can do for you; ask what you can do for your country.” — John F. Kennedy*
“We are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.”
— Rev. Martin Luther King, Jr.
Directions: On the next pages, for each of the statements appearing in Gibran’s “On Work,” identify the repetition of words
or phrases. Determine what Gibran is trying to persuade the reader or listener to believe or understand.
* This famous sentence is actually a paraphrase of a sentence in Gibran’s 1925 essay, “The New Frontier.” See http://www.princeton.edu/pr/pwb/07/0618/07a.shtml.


Purpose of Work
1. And I say that life is indeed darkness save when there is urge,
And all urge is blind save when there is knowledge,
And all knowledge is vain save when there is work,
And all work is empty save when there is love;
And when you work with love you bind yourself to yourself, and to one another, and to God.
Repeating words or phrases:
Underlying Message:
2. And in keeping yourself with labour you are in truth loving life,
And to love life through labour is to be intimate with life’s inmost secret.
Underlying Message:


Purpose of Work
3. And if you grudge the crushing of the grapes, your grudge distills a poison in the wine.
Underlying Message:
4. Look at the poem again. Pick a different sentence or group of sentences that exhibit parallel structure. Write the excerpt
below and explain why this is an example of parallel structure.
Example:
Explanation:

Handout 2 •p.1 Storyboard for ‘On Work’

Alternative Animation
Shot 1 Shot 2
Annotation: Annotation:

Handout 2 •p.2 Storyboard for ‘On Work’

Alternative Animation
Shot 3 Shot 4
Annotation: Annotation:

On Eating and Drinking

Many of the images presented in both the poem and the
• Words can create pictures in the reader’s mind
activities that follow presuppose some knowledge of reli-
through the use of imagery.
gious imagery (tree of heaven, rejoicing, worship, etc.)
• Analyzing imagery in a poem can lead to deeper and a sense of the power such words and images have in
understanding and a clearer picture of the poet’s poetry. Kahlil Gibran was a Maronite Christian, as are many
intent. Lebanese today. Aligned with and recognized by the Roman
Catholic Church, Maronites have had a foothold
Essential Questions in Lebanon nearly since the Catholic Church’s inception.
This in itself provides interesting context to the poem in
• What is imagery? this lesson. If you have any concerns about teaching a poem
• How can the use of imagery benefit a piece of writing? with religious connotations, there is an excellent pam-
phlet on the subject titled “A Teacher’s Guide to Religion
• Can seemingly disparate forms of media work in the Public Schools,” which may be of help. It can be
together to create a cohesive message? downloaded free from the First Amendment Center at
http://www.firstamendmentcenter.org/madison/wp-content/
uploads/2011/03/teachersguide.pdf. You can teach this les-
son simply in the broader context of poetic imagery.
The lesson begins with an optional review of the definition

of imagery if you feel this would be helpful to your students.
Then students view a clip from the film Kahlil Gibran’s
The Prophet and listen to several readings of the poem “On
Eating and Drinking.” They record their observations to
use for a set of discussion questions to interpret the themes
of the poem and animated sequence. An analysis of the
imagery follows, and then students have the opportunity to
compose menus, which will give them an opportunity to
construct images of their own.

One class period for the Interpret and Review sec-
tions. You will need additional class time for the
CCSS.ELA-LITERACY.CCRA.R.4 creative writing activity, or you may choose to assign
Interpret words and phrases as they are used in a text,
this as homework.
including determining technical, connotative, and figu-
rative meanings, and analyze how specific word choices
shape meaning or tone.
CCSS.ELA-LITERACY.CCRA.R.5
Assessment
Analyze the structure of texts, including how specific sen- Completion of handouts
tences, paragraphs, and larger portions of the text (e.g.,
a section, chapter, scene, or stanza) relate to each other Completion of menu project. This could include a
and the whole. required number of images, types of imagery, etc.
Evaluating the quality of added artwork, sophistica-
CCSS.ELA-LITERACY.CCRA.R.6
tion of the menu, etc., is up to the individual teacher.
Assess how point of view or purpose shapes the content
and style of a text.
meanings; analyze the cumulative impact of specific Materials
word choices on meaning and tone (e.g., how the lan-
Access to film clip from Kahlil Gibran’s The Prophet
guage evokes a sense of time and place; how it sets a
(42:36–44:06)
formal or informal tone).
Copies of the poem “On Eating and Drinking”
Determine the meaning of words and phrases as they Photocopies of Handouts 1–4
(Optional) Computer access or art materials for cre-
meanings; analyze the impact of specific word choices
on meaning and tone, including words with multiple ative writing and extension activities
meanings or language that is particularly fresh, engag-
ing, or beautiful. (Include Shakespeare as well as other
authors.)

Suggested answers for Handout 2:
Procedure
Interpret 1. The title hints that eating and drinking are more than
just sustenance. The very fact that the poet is writing
1. Explain to students that the lesson will be on Gibran’s
about it indicates it must mean more.
poem “On Eating and Drinking,” which addresses food
as much more than sustenance. 2. Answers will vary, but may include things like
repeated food imagery, air plants, blood imagery, reli-
2. If your students need a basic review of the concept of
gious/worship imagery, earth and seasons, farming,
imagery, distribute Handout 1: Imagery: A Quick
connection of food with heaven/religion, etc.
Review, which introduces to students the idea of imag-
ery as a literary device. Although this lesson will focus 3. The poet juxtaposes the magical idea of surviving only
on visual images in the poem, many other images will be on light with killing to eat and survive. The poem sug-
discussed as well. Work with students to complete this gests a wish that people would not have to kill to eat,
handout individually, in teams, or as a whole class. but instead simply exist from the light of the sun. This
wish shows a respect for other living things.
3. Show the film clip of the animation of the poem “On
Eating and Drinking” (42:36–44:06). Next, distribute 4. Killing something for worship is a sacrifice. It makes
copies of the poem “On Eating and Drinking” and have death something holy. This image elevates eating to
a student read the poem aloud for the class. (Point out something far more than simple sustenance.
to the students that the poem in the book is significantly
5. Grapes, wine, fruit, eternity and heaven, body and
different from its rendering in the film.) This time, on
blood, apples, seeds, food as body, etc.
the handout, have students note any observations that
occur to them as they hear the poem again. Finally, have 6. Many possible answers, including wine and commu-
an additional reading in silence to allow students to add nion, religion, the tree of knowledge and the apple,
to their notes. blood and sacrifice or Christ, the “circle of life,” etc.
4. Distribute Handout 2: Discussion Questions for 7. “Rejoice” and “Seasons” are the standouts (and per-
the Poem “On Eating and Drinking” to the students. haps “together”). This line could cement the poet’s
Instruct students that their answers are notes to be ideas that eating and drinking are akin to religious
expounded upon in discussion and on a later assign- rites, that we should respect the food we eat and the
ment. Give the class time to answer the questions on land from which it comes, and that this respect should
the handout individually or in pairs or small groups. bring us joy. By referencing the seasons, Gibran
Complete sentences are not necessary, as the goal is to stretches this idea to include the entire time of our
get ideas flowing. lives, even the lives of generations.

8. In the poem, Gibran mentions eternity, all the sea- 4. Ask students how the images are related to each other.
sons, and heaven. These indicate a circle of life—of Conduct a discussion to develop the idea that all of these
things dying to feed the living, who then die and feed images work together to add depth and meaning; they
others. The consistent flow of the animation symbol- add to the cohesion of the idea that eating and drinking
izes this idea. are something more than consumption. Some students
may bring up the fact that the poem uses religious imag-
9. Answers will vary.
ery through such words and images as “blood,” “wine,”
10. Answers will vary. “worship,” and “rejoice.”
Review: Create:
1. Give the class Handout 3: Imagery in the Poem “On 1. This project can be as simple or complex as time and
Eating and Drinking.” Ask students to review the defi- skills allow. This is an opportunity for full arts integra-
nition of imagery, their answers to the questions, and tion. Outcomes will certainly vary, but the goal is to get
their notes on the poem. (Note: Students will be asked to students to think in terms of imagery.
list visual images and what they “see,” but will be chal-
2. Give the class photocopies of Handout 4: Create a
lenged to find other imagery in the poem as well.)
Menu. Review the directions on the handout with the
2. Point out to students that the poet could say “Killing students. If desired, arrange students in pairs or small
to eat is regrettable,” but instead says, “If only we could groups.
live on the fragrance of the earth, and like an air plant be
3. List on the board a few food items, such as chicken
sustained by the light.” The images add depth; imagery
soup, applesauce, and spaghetti. (For fun, you might use
contributes to making words become poetry. (You may
the school cafeteria menu for that day.) Have students
want to point out to students that Gibran includes the
brainstorm at least two related images for each item.
consumption of plants under “killing to eat,” not just the
Encourage them to make their images clear and specific.
eating of animals.)
4. Give students time to complete Handout 4. If you wish
3. Give students time to work individually or in small
to challenge them more, restrict them to types of imag-
groups to complete the handout.
ery: e.g., drinks must relate to smell, appetizers to touch,
desserts to sight.
5. Have students use the computer or art materials to

design an appropriate menu for the restaurant.

Extension Activities:
Have students choose one of the created menus and build
an entire restaurant experience by bringing dishes from
home to serve.
Have students write their own poems on food or perhaps

dinnertime in their own family. Ask them to concentrate
on developing vivid imagery. Give them time to read their
poems to the class or have students post the poems.
Have interested students research the Maronite tradition in

the Catholic Church and present their findings to the class.

Handout 1 •p.1 Imagery: A Quick Review

Directions:
Read the definition of imagery below. Then look over the examples and fill in the blanks with your own original images.
Definition:
Imagery is a literary device in which words lead the reader to form pictures in his or her mind. A group of connected
images in a work helps the author establish tone, setting, mood, atmosphere, etc. Images can be described in single words
and phrases or in figures of speech such as metaphors and similes. Imagery appeals to the senses of the reader and is usually
classified as sight (visual images), sound (auditory images), taste (gustatory images), smell (olfactory images), touch (tactile
images), and movement (kinesthetic images).
Examples:
Sight:
• The darkening sky was sapphire.

• The runner bounded like a gazelle.
• She loved the green carpet. It looked like ________________________
Smell:
• The pavement smelled of fresh rain.

• The sweet smell of fine chocolate pulled them quickly toward the kitchen.
• His locker smelled like _______________________________
Taste:
• It was about to rain. The metallic taste in the air predicted bad weather.
• Like _________________________, Mom’s soup was bitter and wouldn’t make me better.
• The pasta was _______________________ like _________________________

Handout 1 •p.2 Imagery: A Quick Review

Hearing:
• The wind roared like a wolf howling at the moon.

• The earth opened with a thunderous boom.
• The crowd sounded like______________________________________________
Touch:
• The old cowboy’s skin was like leather from years in the sun.
• His breath was like a furnace.
• The pillow was________________________________________________________
Movement:
• The injured runner crawled across the finish line like an exhausted turtle.
• The defender exploded through the offensive line and crushed the quarterback.
• The old locomotive __________________________________________________

Handout 2 •p.1 Discussion Questions for the Poem

‘On Eating and Drinking’
Directions:
Answer the following questions. You do not need to use complete sentences.
1. Titles are important to poems. They can set tone or define place, among other functions. The title for this poem, “On
Eating and Drinking,” is simple, establishing the subject matter. What more could the title be doing?
2. Look at your notes from the second and third reading of the poem. What did you notice?
3. An air plant is a plant that has nearly no root structure and can survive even without roots. Its sustenance is provided
through its leaf structure. Read the first stanza again. Why would Gibran liken people to such a plant in regard to eating
and drinking?
4. Also in the first stanza, Gibran likens killing to eat as an act of worship. Why would he do this?

Handout 2 •p.2 Discussion Questions for the Poem

5. In the second and third stanzas, what images are presented?
6. What do the images from #5 mean to you? What might they mean to others?
7. Look at the last line/stanza. What words stand out? What do you think Gibran is trying to accomplish with this last line?
8. In the animation that accompanies “On Eating and Drinking,” after the person takes a bite of a rainbow, the images turn
to work and the farmer’s sweat becomes water for others to drink, which then waters a grapevine. This idea of one thing
becoming another and yet another occurs throughout the animation. What does this meaning convey in relation to the
poem itself?
9. Did the animation in the film for “On Eating and Drinking” help your understanding of the poem? Did it change your
perception? Why, or why not?
10. Do you agree that eating and drinking are more than just sustenance? Why, or why not?

Handout 3 •p.1 Imagery in the Poem

Directions:
Read the definition of imagery below and reread the poem “On Eating and Drinking.” Also look over your notes on
the poem and the answers to the questions on Handout 3. When you have finished, write each one in the appropriate
category or categories on the next page. Words and phrases may be used more than once. The first few have been done
for you, as examples.
Imagery is a literary device in which words allow the reader to form pictures in his or her mind. A group
of connected images in a work helps the author establish tone, setting, mood, atmosphere, etc. Images
can occur in single words, phrases, or figurative language such as metaphors and similes. Imagery appeals
to the senses of the reader: sight (visual images), sound (auditory images), taste (gustatory images), smell
(olfactory images), touch (tactile images) and movement (kinesthetic images). Imagery creates mental
pictures for readers to explore.
tree of heaven kill to eat crush an apple
gather the grapes act of worship your blood and my blood
feeds the tree winepress fruit shall be gathered
buds of your tomorrow fruit blossom
eternal vessels wine vineyard
teeth sap that feeds the tree seeds

Handout 3 •p.2 Imagery in the Poem

Religious Imagery: Tree of heaven, eternal vessels
Farming Imagery: Gather the grapes
Time imagery:
Food/Taste imagery: Gather the grapes
Touch or Kinesthetic Imagery:

Handout 4 Create a Menu

Directions:
A team of investors has designated you to be the creative mind behind a new restaurant. You must not only name the restau-
rant but also develop the menu. The investors have unlimited funds, but have given you one stipulation: The menu items
must be described using imagery. For example, if it were a Greek restaurant, the menu might offer French fries described as
“Golden Spears of Ajax.”
Create at least 10 items for your menu. Try to include appetizers, entrees, drinks, and desserts. Note that in the poem, the
imagery worked together to create a cohesive “flavor.” Have your menu do the same.
Name of restaurant__________________________________ Restaurant theme___________________________________
Menu Item Description

On Love
This lesson helps students to understand both Gibran’s
• Love is a force in our lives that, while sometimes
thoughts on the nature of love and the way that Gibran
painful, pushes us to grow emotionally for the health
used personification to deepen and enrich his poetry.
and benefit of ourselves and everyone around us.
Although Gibran never married, there were several older
• Personification—the assigning of human women whom he loved. One was Josephine Peabody, a poet
characteristics to nonhuman things—is a device that he met when he was only 15; she helped to arrange his first
adds dimension or strength to an author’s writing, art exhibition. Another, the most significant, was his patron,
helping a reader associate familiar human qualities the schoolmistress Mary Elizabeth Haskell; this relationship
with a nonhuman form. endured until his death. His relationship with May Ziadah
was only by correspondence. Collections of his letters to
each of these women have been published; the titles are
Essential Questions listed in Additional Resources.
• Why is love sometimes painful? Students will most likely be familiar with the concept of
personification. The core of this lesson consists of getting
• Is the pain of love worth the benefit?
them to think critically about what specific meaning Gibran
• How can writers and artists communicate rich intends through the personification he employs. Students
messages about complex subjects without explicitly may tend to gravitate to vague, generic answers about the
stating everything they wish to say? device’s effect. Push them to think and articulate exactly
what value is added in the depictions Gibran creates.
The beginning of this lesson consists of several readings of

Gibran’s poem, followed by an analysis of the theme that
while love may inevitably bring pain, a life without love is
meaningless. Students analyze how the poet’s three person-
ifications of Love—as an angel, a baker, and a gardener—
enrich the reader’s understanding of the theme. Then,
using Gibran’s poem as an example, students will choose an
abstract concept and describe it with three personifications
from their own imagination. Extension activities showcase
connections in the worlds of art and music.

Materials
Film clip from Kahlil Gibran’s The Prophet (48:05–
CCSS.ELA-LITERACY.W.11-12.2 52:04)
Write informative/explanatory texts to examine and con- Copies of the full text of the poem “On Love”
vey complex ideas, concepts, and information clearly and
accurately through the effective selection, organization, Handout 1: Creating Your Own Personified
and analysis of content. ‘Portrait’
CCSS.ELA-LITERACY.W.11-12.2.D Optional: Computer access for the extension activity

Use precise language, domain-specific vocabulary, and
techniques such as metaphor, simile, and analogy to
manage the complexity of the topic.
Procedure
Review
Analyze the impact of the author’s choices regarding how
to develop and relate elements of a story or drama (e.g.,
1. Explain to students that they will be exploring Gibran’s
where a story is set, how the action is ordered, how the
characters are introduced and developed). “On Love,” a poem that presents the idea of love through
some rather unconventional verbal images. Show the
film clip (48:05–52:04).
2. Provide students with a printed copy of the full text of

Duration of the Lesson “On Love” and read the poem aloud. Point out to stu-
One period for analysis and discussion of the poem. dents that there are some differences between the origi-
Additional class time may be needed if the creative nal text and the text used for the animation.
writing is to be done in class or shared aloud, or if
you use the extension activities. 3. Ask students who “he” is in the poem. When they
respond with “Love,” ask why this abstract idea is indi-
cated with a personal pronoun. (Making the idea of love
Assessment
into a sentient human being makes it more personal to
Students may be graded objectively on their ability the reader.) Ask students what this technique is called.
to depict their chosen concept with three personifi- (Personification) Ask the students for a definition of per-
cations and three details per personification.
sonification. (The assigning of human characteristics to
nonhuman things, such as inanimate objects, animals, or
abstract ideas.)

Interpret 6. Ask the students what extra meaning Gibran achieves
by personifying Love as a baker. (A bread maker (or a
1. Ask students to identify places in the poem where per-
miller) takes the raw material from the fields and purifies
sonification is used. (“when his wings enfold you…the
it so that it can be used for good purposes. His actions can
sword hidden among his pinions may wound you”; “when
be harsh and forceful, but it is the only way to separate the
he speaks to you believe in him”; “even as he is for your
grain from the husk. It implies that love may put our hearts
growth…so shall he descend to your roots and shake them
through a tough process. We may feel as if we are being
in their clinging to the earth”; “like sheaves of corn he
torn apart, ground down, or painfully kneaded. But if we
gathers you…that you may become sacred bread for God’s
let love do its work on us, we will become pure flour, beau-
sacred feast.”)
tiful and useful and beneficial to all those who partake of
2. Drawing attention to each of the three sections above, us.)
ask the students what kind of image is being created
7. Tell students that some poems have a turning point,
by each personification. (An angel, a gardener, a bread
sometimes called a fulcrum or, in sonnets, a volta. Ask
maker)
them to find the fulcrum of the poem. (“But if in your
3. Explain that personification works by creating a recog- fear…”) Direct them to paraphrase that section up
nizable image and investing the personified image with through “…not all of our tears.” You may want to give
implicit meaning. Readers bring to the poem their own them a few minutes to write out a paraphrase before
associations with the personified images, and use those sharing their answers. (Sample paraphrase: If all the above
associations to understand and interpret the poem. promised benefits and costs of love are not what you want,
it is better to close yourself off from love entirely. You will
4. Ask the students what extra meaning Gibran creates
protect yourself from love’s pain, but you will never experi-
by personifying Love as an angel. (It implies that love is
ence the depths of love’s abundant joy.)
divine and benevolent, something to be trusted and some-
thing that will save or redeem us.) 8. Ask students what the emotional effect of this section is,
given its placement after the personified sections we saw
5. Ask the students what extra meaning Gibran achieves by
earlier. (After the rich images of the personified sections,
personifying Love as a gardener. (A gardener is someone
the fulcrum feels hollow and fragile. The life it portrays is
who looks out for the health of his or her plants, who pro-
unattractive, and the rhetorical effect is to cause the reader
tects them from harmful forces and does what is necessary
to desire the full life of Love.)
to make them fruitful, including painfully pruning them
when necessary. It implies that love is a force that will make 9. Ask students to write a page or more in their journals
us healthy and whole. It implies that love will protect us stating whether or not they agree that love is a beneficent
from that which could harm us in life. It implies that any but necessarily painful force. Ask them if they think pain
pain we feel from love is ultimately for our own benefit.) is a necessary part of love, and if so, why. (Answers will

vary, but may include the idea that love changes us for the
better, and any change brings with it a certain amount of
pain.) When they are finished, allow students to share 1. Philosophical concepts and abstract ideas have been
their journals if they wish to do so. It’s best not to require depicted in many forms for millennia. Consider assign-
anyone to read aloud when the subject is so personal. ing students a brief report on an artistic depiction of
one of the ideas below, or one of their own choosing.
Research and scholarship on these works of art are avail-
Create able online. Encourage students to look for symbolic
imagery, visual cues that help us understand something
1. Distribute Handout 1: Creating Your Own
about the idea being presented. Their brief reports can be
Personified ‘Portrait.’
written or oral.
2. Review the directions on the handout and help stu-
Classical depictions of virtues and ideas:
dents choose concepts they would like to write about.
Prudence (Piero del Pollaiolo)
Encourage them to find three ways to depict their chosen
Justice (various artists)
concept, and to consider what extra meaning their per-
Fortitude (Botticelli)
sonification brings to the interpretation of that concept.
Temperance (Piero del Pollaiolo)
The portrait may be in poetry or prose, but each depic-
Abundance (Rubens)
tion should include at least three details that deepen the
Wisdom in the guise of the goddess Athena
comparison and enrich our understanding of the idea.
(various artists)
Tell students ahead of time if you expect them to share
Victory in the guise of the goddess Nike (various
their work with the class.
artists)
3. When students have completed the handout, have them Love in the guise of the god Cupid (various artists)
write a first draft of their essay or poem. This may be Death depicted as the Grim Reaper (various artists)
assigned as homework, but it will be helpful for students
2. Students who are fans of country music may enjoy listen-
if they have time in class to write and to have individual
ing to a different expression of the theme of love’s value
conferences with you.
despite the pain it may cause: Garth Brooks’s classic
4. When students have finished, give them the opportunity song, “The Dance.” Ask students to find other popular
to read or listen to each other’s work. expressions of the same idea in the music they listen to.

Additional Resources
Gibran, Kahlil, Suheil Bushrui , and Salma Haffar

al-Kuzbari. Love Letters: The Love Letters of Kahlil Gibran to
May Ziadah. London: Oneworld Publications, 2008. Print.
Gibran, Kahlil, and Virginia Hilu, Beloved Prophet: The Love

Letters of Kahlil Gibran and Mary Haskell. New York: Knopf,
1972. Print.
Gibran, Kahlil, Salim Majais, and Josephine P. Peabody.

Letters of Kahlil Gibran to Josephine Peabody. Beirut: Kutub,
2009. Print.

Handout 1 Creating Your Own Personified

‘Portrait’
Directions:
Now that you have studied Gibran’s poem “On Love,” compose your own personified “portrait” of an abstract idea. Use the
planning sheet below for help.
Step One: Choose a concept that appeals to you. You may use one of Gibran’s titles, or choose from the following list:
friendship, joy, trust, selfishness, contentment, betrayal, intelligence, fear, forgiveness, gratitude, loss, compassion, courage,
anger, grief, knowledge, entitlement, sacrifice, hatred, achievement.
The concept you have chosen: ________________________
Step Two: What does your concept mean to you? Explain this in your own words; someone else’s definition from a
dictionary will not help you think through what you want to say.
____________________________________________________________________________________________________
____________________________________________________________________________________________________
____________________________________________________________________________________________________
Step Three: Find three ways to use personification to depict your chosen concept. Then consider what extra meaning the
personification brings to your interpretation of that concept.
Personification What this adds to your interpretation of the poem
Your portrait may be in poetry or prose, but should include at least three examples of personification that deepen the com-
parison and enrich the reader’s understanding of the idea.

On Good and Evil

Anaphora is often used in literature and elsewhere, yet the
• Repeating words and phrases—in poems, essays,
term will likely be unfamiliar to many students. Anaphora
songs, and elsewhere—is a literary device called
is a fairly simple technique: the deliberate repetition of
anaphora that serves many purposes for an author.
words or phrases at the beginning of successive lines or
• Even simple literary devices can have profound effects sentences. (If the repetition comes at the end of lines,
on a work of literature. it is not anaphora, but epistrophe.) Anaphora in poetry
creates a rhythm and appeals to the listener’s emotions.
It is an ancient technique dating back to Biblical writing,
Essential Questions such as the Psalms or Beatitudes. Later, it became a favor-
ite technique of the Elizabethans. Think, for example, of
• What is anaphora and where is it found?
Shakespeare’s Marullus denouncing the commons in Julius
• What use(s) does anaphora have in literature? Caesar: “You blocks, you stones, you worse than senseless
things!” The Romantics favored it too: As he and his mari-
• How does something as simple as repetition affect a
ners set sail, Tennyson’s Ulysses predicts:
work of literature?
It may be that the gulfs will wash us down:
It may be we shall touch the Happy Isles, …
Modern poets have also used anaphora to dramatic effect.
[Note that anaphora as a rhetorical term has a different

meaning: using a pronoun to replace a word in a sentence. Be
sure students are not distracted by this alternate meaning.]
The lesson is divided into several parts. Students view the

film clip interpreting “On Good and Evil” and then listen to
several readings of the poem. They learn the definition of the
literary technique anaphora; next, they identify it in several
well-known literary and oratorical examples and discuss the
impact that its use has on the page. Then they move on to
discussion questions about both the style and substance of
the poem itself. Finally, there is a creative writing assignment

that asks them to apply what they have learned to a speech on Duration of the Lesson
a topic of their choosing. For this assignment, you may wish
One or two periods, though easily more if extension
to vary your requirements for the number of sentences, the activities are included.
repeated words or phrases, the particular topic, etc., depend-
ing on the interests and abilities of your class.
Assessment
Completion of worksheets
Common Core Standards addressed by this lesson Completion of speech project
Optional: Delivery of speech or performance of

CCSS.ELA-LITERACY.CCRA.R.4 extension activities; this is up to the individual
Interpret words and phrases as they are used in a text, teacher.
including determining technical, connotative, and figu-
rative meanings, and analyze how specific word choices
shape meaning or tone.
Materials
CCSS.ELA-LITERACY.CCRA.W.4
Produce clear and coherent writing in which the devel- Access to film clip from Kahlil Gibran’s The Prophet
opment, organization, and style are appropriate to task, (57:32–1:01:07)
purpose, and audience.
Copies of the poem “On Good and Evil”
are used in the text, including figurative and connotative Optional: Depending on the extension activities—
meanings; analyze the cumulative impact of specific musical instruments and online access
word choices on meaning and tone (e.g., how the lan-
guage evokes a sense of time and place; how it sets a
formal or informal tone).
meanings; analyze the impact of specific word choices on
meaning and tone, including words with multiple mean-
ings or language that is particularly fresh, engaging, or
beautiful. (Include Shakespeare, as well as other authors.)

3. Review the answers in class to be sure that students
Procedure
understand the term anaphora.
Review
1. Explain to students that the lesson will address Gibran’s Interpret

“On Good and Evil,” a poem that speaks to a broad and
1. If possible, show the film clip (57:32–1:01:07) of the
ancient idea; it will also focus on one literary technique
animation interpreting “On Good and Evil.” Then read
within the poem, called anaphora.
aloud “On Good and Evil” for the class. At first have the
2. Distribute Handout 1: Anaphora—An Introduction students just listen. Next, hand out copies of the poem
and discuss the literary term anaphora described at the “On Good and Evil” and have a student read the poem
beginning of the handout. Give students time to com- aloud for the class. This time, on the handout, have stu-
plete the handout, working individually or in pairs. dents note examples of anaphora. If necessary, have a
final reading with students either adding to their notes or
Suggested answers to Handout 1: listening for what they heard the first time.
3. Underline “blessed.” Possible answer: Much like the 2. Distribute Handout 2: Discussion Questions to the
King example, the repeat of “blessed” highlights the students. Have the class take the time to answer the ques-
outcome of being a follower of the Bible’s teachings. It tions on the handout. Complete sentences are not nec-
unites several ideas with one word. essary; the goal is to get ideas flowing. Instead instruct
students that their answers are notes to be expounded
4. Underline “This.” Possible answer: The repeated use
upon in discussion or on a later assignment. For num-
of “this” shows an emotional attachment to England.
bers 8 and 9, the animation that accompanies the poem
5. Underline “I have a dream.” Possible answer: The is needed or should have been recently viewed.
phrase adds a rhythm that helps to make this speech
more memorable. “Dream” describes an ideal situ- Suggested answers to Handout 2:
ation, not an impossibility. The words that follow
1. The poem will be about the ancient struggle between
emphasize what he hopes will happen.
good and evil or right and wrong. The poem will pit
6. Underline “We shall.” Possible answer: The repeated good against evil.
phrase flies in the face of war and the prospects faced
2. They are equal. Perhaps there is no evil, but instead
by England. Even without context, students should pick
good just weakens sometimes.
up on the positive and defiant tone set by “we shall.”
3. “you are good” and/or “yet you” and/or “In your/our
7. Underline “I want.” Possible answer: The repeated
longing”
phrase “I want” illustrates the selfish behavior of the
speaker. More deeply and juxtaposed against #5, this 4. The repeated phrases seem to perpetuate an idea from
satirizes the common practice of anaphora in political the first set of lines that evil does not exist on its own.
speeches. Instead we as people are inherently good. “You are

good” shows up again and again and when coupled 3. On the following day, ask students to deliver their
with “Yet you” are not evil seems to say that none of speeches aloud. After they have practiced giving the
us are—or maybe can be—evil. speech in front of you, you may want to invite a sym-
pathetic administrator into your classroom to hear the
5. Yes and no. The examples of anaphora that contain
speeches.
or address evil really relate only to people being “not
evil.” Gibran seems to imply that people are good and
what we perceive as evil could actually still be consid- Extension Activities
ered good.
1. Have students think of a particularly evil character from
6. Although it is about both, the poem focuses on good. a film, story, play, or book they’ve seen or read. Have
There are many definitions of what good is, but none them write a short essay applying “On Good and Evil” to
for evil. There doesn’t seem to be a definition of evil. that character and determining whether or not the cho-
sen character was truly evil or just “limping” forward in
7. Answers will vary widely. One possible answer: As long
his or her longing to be good.
as we try to better ourselves, we are good; and all of us
have the ability to try, therefore we are all good. 2. If the “Create” assignment generated conflicting views,
arrange a student debate on the topics covered by their
8. It is a pity that the stags cannot teach swiftness to turtles.
speeches.
9. The stags and turtles are both longing to escape from
3. Many pop songs and poems use the technique of
the fire as people have longing within to be better.
anaphora. Examples are readily available online. Have
Although they took different routes and at different
students find and bring into class popular music that
speeds, they both reached the same destination. This
uses anaphora as a technique. Discuss how the use of
could reflect Gibran’s lesson that we are all good, even
anaphora affects the impact of each song.
if we get there differently.
4. Have students write songs, poems, or chapter openings
using anaphora. Students could share their creative
Create efforts in an “Anaphora Day.” Some creative writing
classes hold evening meetings in local coffee shops; per-
1. Give the class Handout 3: Anaphora—Your Turn.
haps you could even arrange an “Anaphora Evening.”
Review the directions with students so that they fully
understand your expectations. If time is short, you may
wish to assign this for homework. Students can limit
themselves to the one-paragraph assignment or expand
upon it as skill and time allow.
2. Give students adequate time to brainstorm issues and

start writing in class. Circulate to be sure that students
using the same issue are not using the same anaphora to
write the speech.

Handout 1 •p.1 Anaphora – An Introduction

Directions:
The definition of anaphora is fairly simple. It is a rhetorical device (a use of language) in which words or phrases at the
beginning of successive lines or sentences are repeated. Authors use anaphora for many reasons; the most common are to
create rhythm, to bring focus to an idea, or to create natural groupings of ideas. Anaphora is used not only in poetry, but
also in fiction, nonfiction, drama, and speeches.
Underline the examples of anaphora below and then explain what effect the anaphora has on the passage. The first two are
done for you as examples.
1. It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch
of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of
hope, it was the winter of despair… (Charles Dickens, A Tale of Two Cities)
Answer: By repeating “it was,” the author focuses the reader’s attention on each phrase that follows. The focus is on the time
period that is the topic of the piece. Anaphora also makes this excerpt memorable.
2. I hear and see not strips of cloth alone,

I hear the tramp of armies, I hear the challenging sentry,
I hear the jubilant shouts of millions of men, I hear Liberty!
I hear the drums beat and the trumpets blowing…
(Walt Whitman, “Song of the Banner at Daybreak” from Leaves of Grass)
Answer: The poet can express many ideas in different lines, but they are all linked. There is also a sense of rhythm provided by
the repeated “I hear,” which suggests the regular tramp of the army.


3. …blessed shall be thy basket and thy store,
blessed shalt thou be when thou comest in,
blessed shalt thou be when thou goest out...
(Deut. 28:6)
Answer:
4. This blessed plot, this earth, this realm, this England,

This nurse, this teeming womb of royal kings...
This land of such dear souls, this dear, dear land.
(Shakespeare, Richard II: Act I, sc. i)
Answer:
5. I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be
self-evident: that all men are created equal.”
I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will
be able to sit down together at the table of brotherhood….
I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their
skin but by the content of their character.
(Rev. Martin Luther King, 1963 speech at the Lincoln Memorial)
Answer:


6. We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we
shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may
be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we
shall fight in the hills. We shall never surrender.
(Winston Churchill, 1940 speech to the House of Commons)
Answer:
7. I want to shake off the dust of this one-horse town. I want to explore the world. I want to watch TV in a different time
zone. I want to visit strange, exotic malls. I’m sick of eating hoagies! I want a grinder, a sub, a foot-long hero! I want
to live, Marge! Won’t you let me live? Won’t you, please?
(Homer Simpson, The Simpsons, 1994, “Fear of Flying”)
Answer:

Handout 2 •p.1 Discussion Questions

Directions:
Answer the following questions on the poem “On Good and Evil.” You do not need to use complete sentences.
1. Titles are important to poems. They can set tone or define place among other uses as well. What is the significance of the
title “On Good and Evil”?
2. In the opening lines of the poem, Gibran equates evil to good simply being hungry. What does this image mean to you?
3. On your second or third reading of the poem, what example(s) of anaphora did you find?
4. What effect does the use of anaphora have on the poem?

Handout 2 •p.2 Discussion Questions

5. Are there examples of anaphora pertaining to evil? If so, why do you think this is? If not, why not?
6. Reread the poem. Though the title implies the poem will be about both Good and Evil, is the poem about that? Is there a
definition of evil in the poem?
7. Poems, like stories, novels, and plays, have themes—lessons to be conveyed by the author. The theme of “On Good and
Evil” could be summed up by its final line. Interpret that line in your own words.
8. In the animation from Kahlil Gibran’s The Prophet that accompanies this poem, stags and turtles are seen moving away
from a fire. What does the poem say about stags and turtles?
9. Also in the animation, the turtles and stags are seen reaching the end of their run at nearly the same time. Relate this to
the poem’s theme.

Handout 3 Anaphora – Your Turn

Remember, anaphora is a rhetorical device (a use of language) in which words or phrases at the beginning of successive
lines or sentences are repeated. Authors use anaphora for several reasons: to create rhythm, bring focus to an idea, to paint a
larger picture, or to create natural groupings of ideas—among many others.
Directions:
Think of something at school that you’d like to change. This could be the lunch menu, the decision whether or not to wear
uniforms, the addition of breakfast to the cafeteria offerings, the amount of homework, rules for phone use, etc. Using one of
the words or phrases in the box below repeatedly, write the opening paragraph of a speech in which you try to persuade the
teachers and administrators to think as you do. Remember that anaphora uses repetition for some kind of desired effect: to
connect ideas, to paint a larger picture, to add rhythm, etc. Use the space below to plan out some ideas.
Bring it home We must Don’t we
Say yes Say no Must I
If this that this
Wrong way Right way One
They I Cold
Hot You do We do
I can You can We can
Should I Should we Yes
No Do Don’t

L e s s o n 10 (ENGLISH, LANGUAGE ARTS)
On Death
The poem on which this lesson focuses may raise sensitive
• In seeking to understand something mysterious (like
subjects for some students. If there are students who have
death), sometimes one must begin by understanding
been personally and deeply affected by death, the teacher
its opposite.
may wish to stick closer to the questions that focus on para-
• The interconnectedness of life and death makes it dox and how the poem works. The poem may also raise dis-
impossible to understand one without the other. cussion of students’ beliefs about the afterlife and religion.
If the conversation gets too personal or contentious, you
• Complex subjects (like death) strain the limits of
may wish to refocus the students on the interpretation of
conventional knowledge and understanding. Poetry
the poem itself, rather than the expression of their personal
and poetic devices such as paradox can deepen our
views. However the conversation goes, the students should
understanding of life’s mysteries and open us up to
never lose sight of the mystery captured in the paradoxes of
previously obscure experience.
this poem—a mystery as deep as life itself, in which (it may
help to remind students) none of us is an expert.
Essential Questions In this lesson, students begin by watching the film clip
interpreting the poem and listening to a reading of the
• How can embracing life fully help us understand
poem “On Death.” They then review the literary concept
death?
of paradox, discussing its definition and looking at obvious
• What is a paradox and how does it work? examples from other literary works. Student groups next
work to identify and explain some of the paradoxes from
• What benefit does paradox offer a poet in
the poem. A general class discussion helps them to interpret
communication?
some of the more complex aspects of the poem. Finally, a
• How can we use poetic devices like paradox to creative writing assignment asks them to compose their own
communicate mysterious or opaque ideas about life? poems using Gibran’s poem as a mentor text.

Materials
Film clip (1:06:49–1:10:04) from Kahlil Gibran’s
The Prophet and projection equipment
Cite strong and thorough textual evidence to support Copies of the poem “On Death”
Handout 1: Paradox: The Death of Sense and
ences drawn from the text, including determining where
the text leaves matters uncertain. the Birth of Wisdom
Answer sheet for Handout 1 ( for teacher only)
Determine the meaning of words and phrases as they Optional: Computer access or art materials for
are used in the text, including figurative and connotative extension activity
meanings; analyze the impact of specific word choices
on meaning and tone, including words with multiple
meanings or language that is particularly fresh, engag-
ing, or beautiful. (Include Shakespeare as well as other
authors.)
One 50- to 60-minute period for the completion of

the paradox worksheet and discussion questions.
Additional class time may be needed if the creative
writing is to be done in class, and if students wish to
share their creative writing aloud.
Assessment
Ability to identify the paradoxical terms in Gibran’s

lines of poetry on the paradox worksheet
Ability to articulate coherent interpretations of those

paradoxical claims
Creative writing: Assessment should be limited to

the student’s fulfillment of the required number of
paradoxes, not on the quality of the poem.

Interpret
Procedure
1. Ask students to offer an interpretation of the poem as
Review
a whole. You may want to give them a few minutes to
1. Explain to students that they will be exploring Gibran’s write something out. Have them share their answers.
“On Death,” a poem in which things surprise us by turn- (Suggested answers: Death is not the end of someone, but
ing out to be something other than what we expected. merely the next step in someone’s journey. We are part of
Show the clip of the animated sequence at (1:06:49– the earth, and our death is simply becoming one with it.
1:10:04). Then distribute copies of the poem “On Death” Life is the preparation for eternity. To die is to transcend
and read it aloud as students read it silently. the limitations of physical life.)
2. Ask students whether they notice anything strange or 2. Ask students: Does the paradox make the underlying
confusing about the ideas in the poem. (You may wish claim clearer or more confusing? How? (Answers will
to read the poem aloud more than once. If needed, vary.)
focus their attention on one line of the poem at a time.)
3. Have a student read the third sentence aloud. Ask stu-
(Suggested answer: The poem is full of paired opposing
dents what they think the owl has to do with life and
ideas: life and death, night and day, silence and singing,
death. (Suggested answer: The owl is a metaphor for us. By
etc.)
day, the owl cannot see—just as we, in life, don’t under-
3. Ask the students what effect such pairings have on their stand what is coming. But in darkness, the owl sees—just
experience and understanding of the poem. (Suggested as we, in the darkness of death, will understand it. Since
answers: It makes you stop and think about what’s being life and death are one, in embracing life we may come to
said. It makes the meaning more mysterious and challenges understand its opposite, death.
the reader to understand.)
4. How do dreams hide the gate to eternity? (Suggested
4. Pass out Handout 1, Paradox: The Death of Sense answer: Dreams are visions of what has not yet come to be.
and the Birth of Wisdom. Have a student read the They are unbounded by physical limitations. They point to
description of a paradox at the top of the page, along a future of limitless possibilities, of eternal promise.)
with the examples. As students discuss the examples,
5. What does it mean that we begin to climb only when
make sure that they understand the concept of paradox.
we have reached the mountaintop? (Suggested answer:
5. In small groups, pairs, or individually, have the students It means that what we think of as the end of our journey
complete the handout. Explain that they are to examine is often just the beginning. Our full understanding of life
each paradox from Gibran’s “On Death” and identify and death can only truly begin when we have climbed the
the words that make it a paradox (the words that seem mountain of life and are ready to begin the journey
to contradict), and then offer an interpretation on what of death.)
deeper meaning the paradox communicates. See Answer
sheet for teachers on page 97.

6. Do the paradoxes and their claims point to an under- Create

lying assumption or presupposition on Gibran’s part?
Have students write their own poem on a complex concept
Does he, for example, presuppose an afterlife? (Answers
in the style of Gibran’s “On Death.” Encourage them to use
will vary, but may include the ideas that the breath rising
rich imagery (involving all the senses) and challenge them
to seek God or dancing after earth has claimed your limbs
to use between five and 10 paradoxes that communicate the
could be a reference to the afterlife. Conversely, students
experience of their concept. If they need help choosing a
may read “melt into the sun” as a rejection of spiritual
concept, they may use one of Gibran’s titles, or choose from
afterlife and an embrace of death as the simple dissolution
the following list: friendship, joy, trust, selfishness, content-
of the physical body.)
ment, betrayal, intelligence, fear, forgiveness, gratitude, loss,
7. As the variety of opinions in the past three questions compassion, courage, anger, grief, knowledge, entitlement,
reveals, there are many different ways to interpret “On sacrifice, hatred, achievement. Suggested length: a mini-
Death.” Is this frustrating or appropriate? (Answers will mum of 10 lines. You may choose to give this assignment as
vary.) homework, but try to start it in class so that students have
an opportunity to ask questions and get assistance.
8. Why might Gibran have chosen to express his ideas
about death in such abstruse, paradoxical ways?
(Suggested answer: Death is a very complex, obscure con-
cept. Simple language may not be suited to complex ideas.)
Extension Activity
Have students emulate the artistic vision of the film Kahlil
9. What would be lost if Gibran chose to articulate his ideas
Gibran’s The Prophet by illustrating their original poems.
in concrete, unambiguous language? (Suggested answer:
They may wish to type the poems out and use digital art, or
A technical or unambiguous answer would lose the “other-
inscribe them on poster paper and illustrate them by hand.
worldly” or transcendental tone and may fail to communi-
The final version may make for a beautiful display of liter-
cate the mystery that is an authentic part of our incomplete
ary and visual art. You might consider teaming with an art
understanding of death.)
teacher for this interdisciplinary project.

Handout 1 •p.1 Paradox: The Death of Sense and

the Birth of Wisdom
A. Directions:
Read the definition of paradox below. Then read the examples and explain why each is a paradox.
Paradox (n.): An apparently absurd or self-contradictory statement or proposition, or a strongly counterintui-

tive one, which investigation, analysis, or explanation may nevertheless prove to be well founded or true. (OED
Online)
Examples:
“Seek freedom and become captive of your desires. Seek discipline and find your liberty.”
—Frank Herbert, Chapterhouse: Dune
Whatever you do will be insignificant, but it is very important that you do it.”
— Mahatma Gandhi
“In this world there are only two tragedies. One is not getting what one wants, and the other is getting it. “
— Oscar Wilde, Lady Windermere’s Fan
“He who fears what he shall suffer already suffers what he fears.”
— Michel de Montaigne, The Complete Essays


the Birth of Wisdom
B. Directions:
For each of the paradoxes below appearing in Gibran’s “On Death,” identify what specific words contradict one another and
create the paradox. Then offer an interpretation of the underlying claim that the paradox makes.
1. For life and death are one, even as the river and the sea are one.
Paradoxical words:
Underlying claim:
2. For how would we know the secret of death unless we look for it in the heart of life?
Paradoxical words:
Underlying claim:
3. Only when you drink from the river of silence shall you indeed sing.
Paradoxical words:
Underlying claim:


the Birth of Wisdom
4. And when you have reached the mountaintop, then you shall begin to climb.
Paradoxical words:
Underlying claim:
5. And when the earth shall claim your limbs, then shall you truly dance.
Paradoxical words:
Underlying claim:

Handout 1 Paradox: The Death of Sense and

Answer Sheet
the Birth of Wisdom
1. For life and death are one, even as the river and the sea are one.
Paradoxical words: life, death
Underlying claim: While the river and the sea might be thought of as separate waterways, the same water flows from one
into the other. Likewise, our lives flow from one into the other. Death may not be the end of the river, but the expansion
into a greater sea of existence.
2. For how would we know the secret of death unless we look for it in the heart of life?
Paradoxical words: death, life
Underlying claim: While we may think of life and death as opposites, Gibran claims that they are complementary aspects
of the larger phenomenon of existence (just as day and night are complements in the 24-hour day). Just as day can teach
us things about night, so can life teach us things about death. If we want to understand death, we must first understand
life.
3. Only when you drink from the river of silence shall you indeed sing.
Paradoxical words: silence, sing
Underlying claim: It is only when we have understood the profound silence of death (as opposed to the noisiness of life)
that we will be able to exist fully, in such a way that our songs (or lives) will not merely be noise, but true music.
4. And when you have reached the mountaintop, then you shall begin to climb.
Paradoxical words: reached the mountaintop, begin to climb
Underlying claim: We are wrong in thinking that our journeys end on the mountaintop at the end of our lives. What we
think of as the summit is actually just the base camp for the spiritual climb we may not have known existed.
5. And when the earth shall claim your limbs, then shall you truly dance.
Paradoxical words: earth shall claim your limbs, truly dance
Underlying claim: While we prize our physical lives, it is only when we give up our physical bodies that our souls are free
to live and dance without restriction or inhibition.

L e s s o n 11 (FILM LITERACY)
The Visual Imagery of Kahlil Gibran’s The Prophet

The nerves of the human eye continue to “see” an image for
• Animated film can be used in both a storytelling mode
a fraction of a second after the image is gone. This is why
(similar to that of live-action film) and in a highly
we seem to see continuous motion in a film when, in reality,
abstract mode to create stunning visual impressions.
we are presented with a series of separate and largely similar
• Literature and film often address our need to still shots (called frames), which present consecutive still
understand others and be understood by them. views of an action. After each frame is shown, the screen
is without light (black) while the next frame is moved into
place, yet we remain unaware of the absence of light during
Essential Questions this blackout. This phenomenon was investigated exten-
sively in the last half of the 19th century using hand-made
• What elements do film storytelling and literary
drawings instead of photographs. In machines like the kine-
storytelling have in common?
toscope and the praxinoscope, drawings were “given life,”
• Can a film inspire its audience to become more that is, animated, by their rapid presentation and replace-
strongly interested in poetry? ment. Thus, before celluloid film allowed photography to
create moving pictures from life, hand-made drawings had
already been doing just that.
Modern storytelling films, both action and animated, are

made up of thousands of frames shown at the rate of 24 per
second. A single frame, when reproduced as a photograph,
is called a still. If the frame is from an animated film, it
may also be called a cel. Frames related by being part of a
continuous action make up the shot. All of the shots from
varying camera angles or points of view of the same event
and location make up the scene. Scenes united by some idea
or continuous activity make up the sequence. The director
combines selected scenes and sequences to tell the story.
The framing story of the film Kahlil Gibran’s The Prophet

(that part featuring Almitra, Kamila, Mustafa, the soldiers,
and townspeople) was created in much the same manner as

a live-action film. For each of the poetry sections, however, viewing habits. Additional subjects for class or individual
the filmmaker used the freedom of the abstract nature of research for discussion are provided. Students should view
artistic interpretation to explore the poetry, as opposed to the film in its entirety first, before starting the lesson, and
telling a story. In some of the poetry sections, there are frag- then view film clips after they have learned the film vocab-
ments of a suggested story but note that these segments are ulary in order to continue their analysis. If desired, you
not directly related to the framing story. may give a vocabulary quiz on the film terms covered in the
lesson.
Analyzing and describing even a part of the film this way
will help the student realize that, though the film is now set Some additional sites that may be helpful:
in its appearance, it came to look as it does as a result of
www.filmsite.org/filmterms.html
a lengthy process of creation, involving a series of related
This site offers a valuable dictionary of many film
decisions on the many choices available for each particular
terms.
element of the film. Film criticism is less about finding fault
25 Beautiful Stills from the New Anthology Feature ‘The
than it is about trying to understand the reasons for the
Prophet’ (Gallery)
film’s effectiveness, that is, giving consideration to the posi-
An article by Amid Amidi showcasing the 10 stills
tive contribution of various elements of the film.
used in this lesson, along with 15 others taken from
This lesson will guide the students through an examination the poetry sections.
of the frame story and ask them to evaluate the decisions
made by the filmmakers. At the beginning of the lesson,
students review film vocabulary and then view and discuss a
PowerPoint presentation of stills from the film to reinforce
their understanding of the terms. Some of these terms are
familiar words but used by the film industry in film-specific
ways. Most of these terms are the same for both live-action
(photographically recorded) films and animated films. This
is especially true for animated films that tell a story (such
as the framing story of Mustafa and Almitra) as opposed to
the highly abstract un-storied film or segments (such as the
segments accompanying each of the poems). When students
are comfortable with these terms, they view as many clips
from the film as time permits and use the terms to analyze
other scenes from the film. Finally, they write a short essay
summing up the impact that such analysis has on their

Four class periods, including time for viewing the film
CCSS.ELA-Literacy.SL.9-10.1C:
Propel conversations by posing and responding to
questions that relate the current discussion to broader Assessment
themes or larger ideas; actively incorporate others into
Participation in class
the discussion and clarify, verify, or challenge ideas and
conclusions. Writing assignment
CCSS.ELA-Literacy.SL.9-10.2: Vocabulary quiz on the terms

Integrate multiple sources of information presented in
diverse media or formats (e.g., visually, quantitatively,
orally) evaluating the credibility and accuracy of each
source.
CCSS.ELA-Literacy.SL.11-12.1: Materials
analysis of what the text says explicitly as well as infer- Photocopies of the following handouts:
ences drawn from the text, including determining where Handout 1: Film Vocabulary
the text leaves matters uncertain. Handout 2: Using Your Film Vocabulary
Handout 3: Kahlil Gibran’s The Prophet: A
CCSS.ELA-Literacy.SL.11-12.2: Closer Look (optional)
Determine two or more themes or central ideas of a
text and analyze their development over the course of Projector and screen
the text, including how they interact and build on one A copy of the film Kahlil Gibran’s The Prophet
another to produce a complex account; provide an objec-
tive summary of the text. PowerPoint presentation of stills from the film
CCSS.ELA-Literacy.SL.11-12.3:
Analyze the impact of the author’s choices regarding how
to develop and relate elements of a story or drama (e.g.,
where a story is set, how the action is ordered, how the
characters are introduced and developed.

6. Show the PowerPoint presentation for this lesson, stop-

Procedure
ping at each slide to discuss as follows:
1. Write the following list of characters on the board to
Viewing Still #1:
help students with unfamiliar names:
a. Ask the students to look at Still #1. Ask a student to
CAST OF CHARACTERS: read the definition of abstract (v/transitive) aloud.
Almitra: a somewhat troubled little girl, about 7 or 8 Notice the difference in the presentation of the sun-
years old light vs. the presentation of the artwork on the walls.
Abyad: Almitra’s friend, a seagull Which has details emphasized and which has details
Kamila: Almitra’s mother, a widow of about two years omitted? (The expression of sunlight is obvious but
Halim: A military guard the artwork is vague in subject and style.)
Mustafa: the prisoner, a poet-philosopher
b. Ask a student to read the definitions of key lighting
Sergeant (unnamed): Halim’s superior officer
and high, medium, and low keys. Ask the students to
Pasha: the ruler of Orphalese (“Pasha” is his title)
squint as they look at Still #1 and consider the effect
Townspeople, vendors, wedding guests, etc.
of the high-key exterior vs. low-key interior. (The
clear sky and the warm light enhance the appeal of
2. Show the film to the class. Depending on the length of the exterior; the dimly lit interior suggests a gloomi-
your class period, this may take several days. ness, and we discover that the room has been a prison
to Mustafa for seven years.)
3. Pass out Handout 1: Film Vocabulary. Tell students
that the specialized vocabulary of a group of people is
Viewing Still #2:
called jargon. For example, lawyers use jargon to denote
a. What is the overall key here? Why is it appropriate?
concepts used by their professions, and sometimes even
(The still continues to suggest the gloominess of
Latin; for example, “declaratory judgment” and “seques-
imprisonment.)
tration.” Doctors, athletes, and teachers are others who
each have a particular jargon. So do filmmakers. Tell stu- b. Have a student read the definitions of camera angle
dents that they are going to learn some of this specialized and p.o.v. How would you describe the angle in Still
vocabulary today. #2? (The view is level with tabletop, looking slightly
downward; not quite Mustafa’s p.o.v., since his head
4. Read and review these terms with students to be sure
would be above the tabletop unless he had been previ-
they understand this specialized vocabulary. Refer to
ously shown bending over.)
Notes to the Teacher for additional information.
c. Have another student read the two definitions of
5. Tell the class that they will be discussing 10 stills from
cartoon. Ask what makes this still (and the entire
the film Kahlil Gibran’s The Prophet using the terms
framing story) a cartoon in style, in the old sense (line
from Handout 1 and noting examples of each.
drawing, lack of detail, simplified shading). Make
clear that, in the new sense, while a cartoon is meant

to be humorous, the film itself is not a cartoon; it quarters). Point out that one might further subdivide
would be categorized as an animated feature. This the sequence into three scenes: (1) the scene in which
still, and most of the frames for the rest of the story, Almitra is hiding from her mother, (2) the conversa-
could be “cartoons” in the original tion between Almitra, Mustafa, and Kamila, and (3) the
(Renaissance) sense of the word—in that they could scene with the sergeant.
be used as the pattern for a highly detailed, more real-
istic painting.
Viewing Still #5:
d. Have a student read the definitions for o.s. (off a. Tell students that this next sequence might be called
screen) and v.o. (voice over). Ask: Are the words “lit- “On the road to Orphalese” where, among other
tle mouse” spoken by Mustafa o.s. or as v.o.? (Answer: events, the travelers encounter a wedding feast taking
o.s., since he is clearly in the scene but not shown in place in a churchyard.
the shot.)
b. Have students read the various definitions of cel.
Assuming that this still is made up of three or four dif-
Viewing Still #3:
ferent cels, describe what would be in each cel (Answer:
a. What color predominates in this still? Introduce the
foreground cel: table and items on it; character cel: the
term monochromatic (an art term meaning multiple
three people; background cel #1: near tree; background
shades of the same color).
cel #2: sky, hills, distant trees). Point out that the char-
b. Almitra’s dress is the first strong element of color, acters move, but since the other objects and the scenery
other than the brown/sepia tones found in the first remain stationary, the animators can use the same cel
three stills. Why? (She’s from outside this room.) for them, saving drawing time.
Viewing Still #4: Viewing Still #6:

a. Ask students to pay attention to the abstracting by a. Ask the students to consider what would be on each
noting which facial features are emphasized (eye- of the separate cels that make up the still. (Answer:
brows, eyes, Mustafa’s “five-o’clock shadow”), which The distant trees, hills and sky; the cemetery; the near
are presented quite simply (nose, chin), and which are trees; the grave; the character Almitra and her seagull
omitted (details of facial shape and lines). friend, Abyad; the flowers. This would allow the ani-
mators to redraw only Almitra and Abyad when they
b. Ask students to read the definitions of, and be able
move.)
to distinguish between, the following: (1) stills and
frames; (2) shot, scene, and sequence. b. If the filmmaker wanted to show a gentle breeze on
Almitra, which of the cels would need to be redrawn
c. Tell students that each of these first four stills is a differ-
from one frame to the next? (Answer: Almitra’s hair;
ent shot, but in the same sequence. [Note: Still #5 will
the flowers and perhaps the near trees. A strong wind
be from a new sequence.] What might be the name of
would probably require the additional redrawing of
the sequence for stills 1–4? (Answer: Mustafa’s house or
the trees in the background as well as the near trees.)

Viewing Stills #7 and #8: 7. Distribute Handout 2: Using Your Film Vocabulary.
a. Ask the students if it is likely that the same back- Read the directions with students and tell them the num-
ground cel was used for both stills? (Answer: Yes. The ber of observations that you expect. Point out that they
p.o.v. has moved closer to the arch and the camera must be specific in hypothesizing about the director’s
angle has changed, but the arch is still exactly the reasons for his or her choices. Show Still #1 again and
same drawing.) ask them why the high-key background of the window
contrasts with the rather low-key figure of Mustafa. (The
Viewing Still #9: window was put there by an artist: Mustafa could have
a. Ask a volunteer to describe the camera angle used in been shown against a dark wall. The appealing warmth
this still and suggest that he or she try to word it as if of the out-of-doors, contrasted with the almost cavelike
writing the script, describing for the artist the angle appearance of his room, heightens the viewer’s under-
desired. (Answer: “Close-up of Almitra; we are look- standing of the dreariness of his confinement.)
ing up at her, seeing her strength and determination,
8. Show as many clips from the film as you have time for.
with Kamila in the background appearing to be much
Then give students time to interpret the notes that they
smaller, unable to restrain Almitra’s determination.”)
have taken. At the end of the exercise, have them share
b. Ask the students to consider what the effectiveness what they have found in small groups.
would be of showing this action from behind Kamila
9. Have students write a concluding essay of one or more
or from the right or left of the pair of them. What
paragraphs based on the following prompt:
would be lost or gained by using a different angle?
Did the viewing of the film clips, while searching
for examples of basic film terms, strengthen the
Viewing Still #10:
experience you had as a film viewer? That is, do
a. Ask students why there are different lighting effects you think you were more involved or less involved
on Almitra and her mother. (Answer: In this still, we because of the assignment to look for examples?
see Almitra, now “enlightened” by what she has seen, If one or more of the terms became particularly
pointing to “it,” while Kamila is still “in the dark.”) meaningful as a result of the examples you discov-
In the film, this shot is clearly a “set-up shot” for the ered, describe the term and your discoveries.
next shot, which is from their p.o.v., looking at the
departing ship.
b. Point out that the filmmaker could have taken the

camera right to the ship for a close-up of the person Students who are interested in film or are members of a film
on board. Instead, we see that person from the point of club may wish to continue working with Kahlil Gibran’s
view of Almitra and Kamila. Why? (Answers will vary.) The Prophet. Handout 3: Kahlil Gibran’s The Prophet:
A Closer Look provides additional suggestions for research
and writing assignments.

Handout 1 •p.1 Film Vocabulary

abstract (adj.): an appearance of something that is in some frame (n): same as in live-action film, a frame is a single,
significant way removed from everyday reality. still image, in sequence with many other frames on a single
strip (formerly of celluloid film, now on digital recording).
abstract (v/transitive): to select and highlight details, at the
Similar to a photo or slide but meant to be shown in such
same time de-emphasizing or even omitting other details.
a way through projection to create a motion picture. In
camera angle: the angle of the camera as it records the one sense, a frame and a cel are identical; while, in another
scene. For example, an extremely low angle, looking up, sense, a frame can be made of several separate cels (see
suggests the strength and dominance (sometimes the evil “cel,” above).
nature) of the subject; a slight low-angle, looking up,
key light: used to describe the amount of light on the
suggests the strength and nobility of the subject; an extreme
primary subject(s) in the frame. Can also be used to
high-angle, looking down on the subject, suggests the
describe other portions of the picture as in, “The shot is in
weakness, perhaps pitifully so, of the subject; a moderate
extreme low key, but with a shaft of sunlight falling on the
high-angle, looking down, suggests disdain for the subject.
prisoner, so he is in high key.”
cartoon (n), (modern): a short animated film, usually high-key: brightly lit
humorous. mid-key (medium key): medium light
cartoon (n), (original; artistic use): a preparatory full-size low-key: little or no light; frame is dark
line drawing for a painting, fresco, or tapestry with colors (A scene is said to be in high contrast if different areas are
suggested, if at all, only in broad strokes and without lit in high- or low-key lighting; mild contrast if the frame is
significant detail. only high-to-mid or mid-to-low; little contrast if the entire
frame is all in one key.)
cel: a term used in animation with multiple meanings. At its
simplest, a cel is a drawing on celluloid or other transparent metaphor (n): a term borrowed from literature to describe
medium such as acetate. The drawing covers only a portion the use of an object, character, or action that is meant to
of the cel and is used in conjunction with additional cels, suggest, through association, another object, character, or
in layers, to form a complete picture, also called a cel. At action with which it has an implied relationship. (Since this
its simplest the picture may have a background cel, which definition may be difficult to grasp, an example from the
doesn’t have to be redrawn for subsequent frames, and a film is in order: In the sequence “On Marriage,” the tango
subject cel, which is redrawn for each frame if the subject is danced is a metaphor for a lifetime together. The broken
in motion. There can be additional cels for layers of scenery walls behind them and the broken wine glass can be seen
and for stationary characters. In the larger sense, a cel is the as metaphors for life’s difficulties. Metaphors are used
same as a frame and these words are used interchangeably. throughout the film, especially in the poetry sections.

Handout 1 •p.2 Film Vocabulary

m.o.s. A shot for which sound recording is unnecessary.
It is filmed without sound. (There are many possible
explanations for the derivation of the abbreviation “m.o.s.”)
o.s. (adj. phrase): refers to dialogue or sound coming from

off-screen but understood to be nearby.
p.o.v. (n. phrase) a shot taken to suggest the perspective

(including relative height and direction of view) from a
character’s point of view. Usually a p.o.v. shot follows a shot
showing a character looking in a particular direction.
scene (n): consists of a series of shots usually taken in a

single location.
sequence (n): a series of shots united by the same action

or idea. May be the same as a scene or may consist of more
than one scene.
shot (n): constant sequence of frames, uninterrupted by

cuts or editing.
still (n): a single, unmoving image; one frame, usually

enlarged, often as a photograph, from the film; sometimes a
staged photograph, not necessarily found in the actual film,
used for publicity.
v.o.: voice-over; when an off-screen narrator, not present in

the scene, speaks or comments on the action. (For example,
when Mustafa begins reciting his poetry, and we are in
the same scene as he is, he might be o.s [off-screen]. Once
the visual and abstract poetry sequence begins, his voice
becomes that of a narrator, said to be a voice-over or v.o.
Without a doubt, Mustafa’s voice, present in the final words
of the film, would be v.o.)

Handout 2 •p.1 Using Your Film Vocabulary

Directions:
As you watch clips from Kahlil Gibran’s The Prophet, note as many examples of the film terms below as possible. When the
film viewing is over, look at your notes and ask yourself, “Why was it done this way?” (The answer “Because that’s how it
really would be” would not be meaningful. Everything looks the way it does because someone decided that it would be effec-
tive that way.)
Here is a word bank to help you:
abstract (adj.) key light p.o.v. (n. phrase).
abstract (v/transitive) high-key scene
camera angle mid-key sequence
cartoon (n) low-key shot (n)
cel (n) metaphor still (n)
frame o.s. (adj. phrase) v.o.

Observation Why Was It Done This Way?

Observation Why Was It Done This Way?

Handout 3 •p.1 Kahlil Gibran’s The Prophet:

A Closer Look
Directions:
Choose one of the following topics for additional analysis:
A. Pay close attention to the use of the abstracted facial features of the characters in the film. How are we shown (a) the
differences between several characters and (b) the different moods of one or more characters? Give several examples.
B. The relationship between mother and daughter (Kamila and Almitra) is clearly strained at the beginning, but warm and
loving at the end. What are the stages by which it gets better in the course of the film? How is the improvement depicted?
Give several examples, especially the hugs that take place early versus late in the film.
C. Several times in the film, in both the framing story and in the abstract illustrations of the poems, an image is replaced or
“turns into” another image which is visually similar yet somehow entirely different. This happens most notably near the
end of the film when papers thrown into the air become a large flock of seagulls. Describe at least two other times this
happens and consider the meaning, effect, or suitability of each time.
D. One visual effect used over and over is that of the passing of light through the atmosphere. While other details are
de-emphasized, this effect is given significant attention. Select at least three separate scenes where this play of light is
important and describe carefully and completely why it is important.
E. Watch for the gradual changes in Almitra’s attitude and expression, which begins as neutral at best but is usually angry.
Notice when she begins to soften and starts to smile. Describe the animation on her face at the end of the film.
F. Those who were responsible for creating this film were very moved by Gibran’s poetry; they may have wanted to
re-awaken the public’s interest in his work. Did this film give you a desire to read and think about any of the poems
presented? If so, which ones, and why? If not, why not?

Handout 3 •p.2 Kahlil Gibran’s The Prophet:

A Closer Look
G. Find other Gibran poems from the book The Prophet and read one not presented in the film. Write an essay on the poem:
How does it reflect your own experience of the topic Gibran is writing about? If you are artistic, suggest how it might be
illustrated or illustrate it yourself.
H. In the series of shots that end this film, Almitra tells her mother she sees Mustafa on the ship and points. Kamila then
joins her and sees nothing. We, too, have seen nothing in the p.o.v. shot of the departing ship. Almitra insists and Kamila
squints and looks again. She, and the viewer, seem to see someone resembling Mustafa in the glaring light. She looks again
and again and seems to see this figure, though very faintly. What does this ending mean? Would you have preferred that
the filmmaker show the departing figure on the ship clearly in a close-up? Do the poet’s words, heard in a v.o., help with
these images? Is it, for you, a satisfactory conclusion to this film?
I. Choose another animated film and watch it carefully, noting some of the film techniques that you have learned about in
this lesson. Write an essay about your observations, explaining what techniques were used and why you think the film-
maker used them.

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Curriculum Guide

Kahlil Gibran’s The Prophet

Journeys in Film: Kahlil Gibran’s The Prophet

Journeys in Film Staff

Journeys in Film Board of Directors

Authors of this curriculum guide

With thanks to Lynn Hirshfield and Hamida Rehimi of Participant Media,

Copyright © 2015 Participant Media, LLC. All Rights Reserved.

Participant Media Journeys in Film

About Journeys in Film 6

Lesson 1: Who Was Kahlil Gibran? 15

Lesson 2: The Art of Kahlil Gibran 23

Lesson 7: On Eating and Drinking 62

Lesson 9: On Good and Evil 80

Lesson 10: On Death 90

Lesson 11: The Visual Imagery of Kahlil Gibran’s The Prophet 98

Journeys in Film: Kahlil Gibran’s The Prophet 5

Journeys in Film transforms entertainment media into edu-

6 Journeys in Film: Kahlil Gibran’s The Prophet

In addition to our ongoing development of teaching guides

Journeys in Film: Kahlil Gibran’s The Prophet 7

8 Journeys in Film: Kahlil Gibran’s The Prophet

Journeys in Film: Kahlil Gibran’s The Prophet 9

An animated narrative becomes a frame story in which mar-

10 Journeys in Film: Kahlil Gibran’s The Prophet

Producers: Salma Hayek, Clark Peterson, José Tamez, and Ron

Executive Producers: Steve Hanson, François Pinault, Jeff Skoll,

Cast: Liam Neeson, Salma Hayek, Quvenzhané Wallis, John

Art Director: Bjarne Hansen

Composer: Gabriel Yared

Running length: 84 minutes

Awards: Nominated for World Soundtrack Award, Composer of the

Journeys in Film: Kahlil Gibran’s The Prophet 11

Lebanese grandfather kept it by

It wasn’t until my late teens that I actually experienced its

In an effort to celebrate Kahlil Gibran’s writings, we have

12 Journeys in Film: Kahlil Gibran’s The Prophet

Journeys in Film: Kahlil Gibran’s The Prophet 13

14 Journeys in Film: Kahlil Gibran’s The Prophet

Who Was Kahlil Gibran?

According to Ellis Island records, Gibran, with his mother

Copyright © 2015 Participant Media, LLC. All Rights Reserved.

Journeys in Film: Kahlil Gibran’s The Prophet 15

16 Journeys in Film: Kahlil Gibran’s The Prophet

The conclusion of the lesson considers Gibran’s biography,

http://www.poetryfoundation.org/bio/kahlil-gibran#poet Journal or notebook

http://www.poemhunter.com/Kahlil-gibran/biography/ Student Internet access

Duration of the Lesson

Two or three class periods

Completion of Handouts 2 and 3

Journeys in Film: Kahlil Gibran’s The Prophet 17

18 Journeys in Film: Kahlil Gibran’s The Prophet

are well-intentioned—that cite a sense of duty to one’s

4. Distribute Handout 2: A Poet’s Voice. Have students

Part 3: Gibran’s Biography

1. Distribute Handout 3: Gibran: A Life in Art and

2. When the class reconvenes, have students review their

Journeys in Film: Kahlil Gibran’s The Prophet 19

Handout 1 ‘Pity the Nation’

1. Where was Kahlil Gibran born?__________ When?