Full Transcript

Khalil Gibran's Children: What Every Parent Gets Wrong | The Prophet Explained

25:471,220 summary words · ~6 min readEnglishBy KavinaamaTranscribed Jul 4, 2026

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Summary

Khalil Gibran's poem 'On Children' challenges parents to reject ownership and intellectual control over their offspring, serving instead as a stable, stationary launching pad (the bow) that empowers their children (the living arrows) to seek their own existential destinies.

Understanding this philosophy helps parents resist the destructive modern impulse to over-manage, curate, and constantly entertain their children, shifting the focus from controlling their paths to building internal emotional resilience.

Section summaries

Introduction and Context of The Prophet

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The hosts introduce Kahlil Gibran's masterpiece 'The Prophet', showcasing their physical copies of the book. They explain the basic premise: a collection of 26 prose poems delivered by a departing prophet character named Al Mustafa to the people of a fictional city. The hosts highlight how the book delivers profound, spiritual wisdom without relying on dogmatic religious terms or personalized deities, striving instead for universal human inclusivity.

The Prophet consists of 26 philosophical prose poems covering various core aspects of the human condition.
Gibran intentionally writes without explicit sectarian religious terminology to ensure universal accessibility.
The narrative is framed through a fictional prophet, Al Mustafa, who is preparing to board a ship to return home.

It frames the book's publishing background and narrative structure, which is helpful context but not critical to the core parenting analysis.

Reading Gibran's Poem 'On Children'

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One of the hosts does a full reading of the poem 'On Children' from the book. The poem challenges traditional ownership-based parenting by stating that children do not belong to their parents and reside in a 'house of tomorrow' that parents cannot visit. Gibran employs the core metaphor of parents as bows, children as living arrows, and an unseen archer (representing life or a divine force) bending the parents so that the arrows may fly swift and far.

Children are described as 'living arrows' that are launched forward, meaning they must not be forced to replicate the parent's past.
A parent's primary focus should be acting as a supportive launchpad, allowing the child to develop their own thoughts and soul.
The poem introduces the divine 'Archer' who bends the bow with might, highlighting that both the stable bow and the flying arrow are equally loved.

This section contains the verbatim reading of the central poem, which serves as the foundation for the rest of the discussion.

Secular Divinity and the Critique of Gibran

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The hosts examine the illustrations in the book, noting how Gibran depicts the stable bow using two human figures. They analyze how Gibran uses capitalized words like 'Life,' 'He,' and 'His' to hint at a secular, immanent divinity without explicitly referencing established religions. One host then introduces a critical caveat: Gibran likely never had children of his own, raising questions about whether the poem presents an overly romanticized, impractical ideal of parenting.

The capitalized terms in the poem represent an immanent life force rather than a dogmatic, personalized religious deity.
Gibran's illustrations use human bodies to symbolize the stability required to launch a child into life.
The hosts debate whether the childlessness of the author compromises the practical real-world validity of the poem's advice.

It offers an important critical deconstruction of Gibran's background and his unique approach to secular spirituality.

Reconciling the Poem with 'Lighthouse Parenting'

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The hosts debate the line 'You may give them your love but not your thoughts,' arguing that outright withholding values or structures from a child is impossible and developmentally dangerous. They reconcile this conflict by introducing the modern psychological concept of 'Lighthouse Parenting.' This model positions the parent as a stable beacon on an island; they provide directional light to help the child steer their own ship in a dark ocean, but they do not board the vessel to control it themselves.

A purely literal interpretation of Gibran's poem could lead to an overly permissive, structureless home environment.
Lighthouse parenting offers a synthesis: providing a stable framework and direction while respecting the child's ultimate autonomy.
Offering 'love but not thoughts' means sitting quietly with a struggling child in their dark moments, rather than trying to fix their problems with parental logic.

This is the most critical conceptual part of the video, where the hosts translate poetic philosophy into a viable modern developmental framework.

The Bow Metaphor: Emotional Regulation and Modeling

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The hosts critique the modern parental habit of acting as a constant 'entertainer' who must immediately cheer up a sad child. They argue that this deprives children of learning how to manage emotional distress on their own. Parents must focus instead on being the 'stable bow,' demonstrating emotional regulation through their own lives. Children learn how to navigate bad days not through parental lecturing, but by silently observing how their parents react to stress and failure in the household.

Over-managing a child's emotions prevents them from developing independent emotional coping mechanisms.
A child's values are largely caught rather than taught, internalized by observing their parents' daily behaviors and reactions.
Being a 'stable bow' means holding a consistent emotional core so the child knows they always have a secure base to return to.

It details how Gibran's bow-and-arrow metaphor applies directly to behavioral psychology and emotional modeling.

Societal Dialectics: Tradition vs. Rebellion

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The hosts scale the bow-and-arrow metaphor up to a macro-societal level, discussing the dynamic balance between conservative values and progressive rebellion. They illustrate this using a physics-based metaphor of a stone spun on a string: the thread represents the conservative structure holding the stone, while letting loose represents the progressive flight. Both forces must exist in a tense, balanced equilibrium for society to evolve without descending into chaos. They conclude by teasing a future episode on Gibran's poem 'Reason and Passion.'

The tension between the stable bow and flying arrow maps onto the societal balance between conservative preservation and progressive change.
Like a rotating stone on a string, progress requires a controlled, trusting release of traditional structures.
Both hosts call for a return to cultural balance, warning against the destructive extremes of contemporary polarization.

This section branches away from the primary parenting topic into broader political theory and future content previews.

Key points

The Existential Alterity of the Child — Gibran posits that children are ontological others—coming through parents but not from them. Their souls belong to the 'house of tomorrow,' meaning parents can provide them with material sanctuary but can never colonize their minds or dictate their futures.
Lighthouse Parenting as Passive Presence — Reconciling Gibran's radical hands-off stance with practical child-rearing requires adopting 'lighthouse parenting'—being a stable beacon of guidance in the background without trying to steer or micromanage the child's ship directly.
The Ontological Stability of the Bow — The parent's primary duty is to be the 'stable bow' in the hands of the Archer (Life). Only when the bow is structurally sound and firm can the living arrows (the children) be launched with the momentum required to fly far and straight.
The Societal Dialectic of Tradition and Rebellion — The bow-and-arrow metaphor scales up to represent the healthy tension between conservative structures (the stable bow) and progressive, rebellious movement (the flying arrow) required for a balanced society.

“Your children are not your children. They are the sons and daughters of life's longing for itself. They come through you but not from you.” — Speaker 1 / Poem

“You may give them your love but not your thoughts. For they have their own thoughts.” — Speaker 1 / Poem

AI-generated from the transcript. May contain errors.

0:00

Essentially, it's a philosophy book.

0:01

Kahlil Gibran, he is calling himself in

0:05

this like or or he has a character in

0:07

there. It's like you know, he's calling

0:09

the prophet. One day he had to leave the

0:10

city and go

0:12

to the city and look at the philosophy

0:14

on various topics. Your children are not

0:17

your children. They are the sons and

0:20

daughters of life's longing for itself.

0:23

They come through you but not from you.

0:26

Throughout this book, I think he has

0:27

never called upon something a God or

0:30

anything like that because I think he

0:32

wanted to be more inclusive of everyone.

0:34

But you can see the usage of the like

0:37

you know, the he and the his like you

0:39

know, it's it's capital H capital H for

0:42

his capital H for he. It's presenting

0:44

like you know, that godly figure or the

0:46

divine figure or or or he's calling just

0:49

life.

0:52

No, it's it's a it's a it's an idea.

0:55

It's it's more of a what you want it to

0:58

be. In real life, does it does it

1:00

translate into a real life situations?

1:02

Like I don't know because think about

1:04

this. He says, you may give them your

1:06

love but not your thoughts. What else do

1:09

you pass out pass to your children?

1:11

Don't you pass your values? Don't you

1:12

pass your like certain infrastructure

1:15

like you know, structure to their life

1:17

that hey, this is a good thing. This is

1:19

a bad thing. For even as he loves the

1:20

arrow that flies, so he loves also the

1:22

bow that is stable.

1:25

But

1:26

actually classy value a good thing to

1:28

say

1:34

Yes.

2:03

Ooh, who's that?

2:05

That's me.

2:06

I got a

2:07

I got a nose job.

2:09

You got a mustache, too.

2:11

>> [laughter]

2:12

>> The prophet Kahlil Gibran, yes.

2:16

I

2:18

work discuss

2:20

from this very famous book that I know

2:23

you have also read and you brought this

2:25

you brought this up.

2:39

Kahlil Gibran because this is one of my

2:40

favorite books.

2:48

>> [laughter]

2:49

>> Well, they actually then your book is

2:52

even bigger

2:53

as compared to mine. Look at this. I got

2:55

a pocket size version of You got a

2:57

pocket size cuz I mean you you might

2:59

need a pocket size version

3:02

of this book

3:03

and you can like open it up for any

3:04

topic, any situation that you're in.

3:07

And it could be like a guide book. I

3:08

mean, I think that's that's the idea.

3:10

Like do you want to explain what the

3:11

premise of this book is a little bit? I

3:14

mean, yeah. It's it's a

3:18

Essentially, it's a philosophy book like

3:19

you know,

3:21

this Kahlil Gibran, he is calling

3:26

himself in this like or or he has a

3:29

character in there. It's like you know,

3:31

he's calling the prophet essentially and

3:34

the

3:43

So the city

3:44

actually

3:47

look at the philosophy

3:48

on various topics. So this book is is a

3:51

collection of 26 poems

3:54

that are

3:56

essentially on different topics of what

3:58

he thinks about those topics, right?

4:09

Right? I mean,

4:11

passion or

4:13

reason reason

4:15

philosophy. We should

4:16

cover that one as well at some point.

4:24

that we going to cover today.

4:29

to deliver his own philosophy but

4:32

through a character named I think Al

4:33

Mustafa

4:34

who is

4:36

who is

4:37

you know,

4:39

portrayed as the prophet in this

4:41

fictional in this fictional story.

4:44

It's

4:47

a company by

4:49

illustrations that the author did that

4:51

Kahlil Gibran did. I think he did about

4:54

12 illustrations and one of them

4:58

actually the one that we want to cover.

5:00

I think we'll end up covering a couple

5:01

of them. But you on children

5:10

Okay,

5:12

I think we should show it first and then

5:14

we should read it so it will make sense.

5:15

Like it it essentially opens up to the

5:17

audience, right?

5:20

I think so. Or should we should do

5:21

should we do it at the end?

5:23

I think we should do it at the end

5:24

because it's

5:26

it ends on that note. Okay. And I mean,

5:30

you know, it ends on that note and then

5:32

it makes sense. So I mean, sure. But

5:35

that's the thing, right? Like

5:37

picture the then

5:40

the master should

5:41

go.

5:45

I'm not going to explain anything there,

5:47

right? You know, just look at it.

5:48

Someone's holding a bow like you know,

5:51

to shoot an arrow. That's all I see

5:53

right now. Yeah, it's it's not like a

5:55

conventional type bow, though. Yes.

5:57

Yeah, so that's what we going to find

5:58

out in the poem itself. So let me read

6:00

that. It's it's a whimsical drawing of a

6:03

man holding a bow.

6:05

I'll just leave it at that.

6:07

All right.

6:09

So the way

6:11

the way the poem goes is essentially a

6:13

woman who is holding her

6:16

baby and she asking the prophet Al

6:19

Mustafa, speak to us of children. Yeah,

6:23

I imagined her yelling.

6:25

Yes, speak to her. Cuz cuz the prophet

6:28

is standing up there like that on the

6:30

ship and she she's she's clutching a

6:32

baby and she's like

6:35

how? Speak to us Speak to us of

6:37

children. What about the children?

6:40

I don't know. For some reason I always

6:42

imagine this Italian like I always go

6:44

like this.

6:45

>> [laughter]

6:46

>> Speak to us of children.

6:50

in my head. All right. So it says

6:53

Okay, hold on. Let me look at the camera

6:55

while I say this one.

6:59

And he said

7:01

Your children are not your children.

7:04

They are the sons and daughters of

7:07

life's long for its longing for itself.

7:11

They come through you but not from you.

7:15

And though they are with you, yet they

7:19

belong not to you.

7:22

You may give them your love but not your

7:25

thoughts. For they have their own

7:28

thoughts.

7:29

You may house their bodies but not their

7:32

souls.

7:33

For their souls dwell in the house of

7:36

tomorrow.

7:37

Which you cannot visit not even in your

7:41

dreams.

7:42

You may strive to be like them

7:45

but seek not to make them like you.

7:49

For life goes not backwards not tarries

7:52

with yesterday.

7:55

You are the bows from which your

7:58

children as living arrows are sent

8:01

forth.

8:03

The archer sees the mark upon the path

8:07

of the infinite.

8:09

And he bends you with his might and his

8:12

arrows may go swift and far.

8:16

Let your bending in the archer's hand be

8:19

for gladness.

8:20

For even as he loves the arrow that

8:23

flies

8:24

so he loves also the bow that is stable.

8:30

Wow.

8:33

For even as he loves the arrow that

8:34

flies, so he loves also the bow that is

8:36

stable.

8:37

Yeah, but that is stable.

8:50

Yes.

8:52

And and and now please bring back the

8:55

illustration that you were showing

8:56

because I feel like now it will make

8:58

more sense and and now we can even see

9:00

the bow that it actually makes made out

9:03

of like two people.

9:05

Not very clear but I think yeah, I think

9:08

it's blurry but it's essentially made

9:10

out of two people which I'm assuming men

9:12

and women at that time

9:14

when it's written. But the stability, it

9:16

comes from both joining their hands

9:19

essentially coming together

9:21

in the hands of this mighty being which

9:25

he is calling

9:27

like Al Mustafa is calling life. But if

9:29

you see life

9:31

like in the poem itself, it's capital L.

9:35

Life's longing for itself. So when when

9:38

you use capital L like that within the

9:40

middle of the sentence and like you

9:41

know, so so it throughout this book, I

9:43

think he has never called upon

9:46

something a God or anything like that

9:48

because I think he wanted to be more

9:50

inclusive of everyone. But but you can

9:52

see the the um

9:55

the the usage of the like you know the

9:58

he and the his like you know it's it's

10:01

capital H capital H for his capital H

10:04

for he it it's it's presenting like you

10:08

know that that godly figure or the

10:09

divine figure or or or he's calling just

10:12

life. Like you know like he's just

10:14

calling that life or

10:16

so I [clears throat] I think I think

10:18

this book is without

10:21

without using religion

10:24

he's communicating what mostly all

10:26

religions communicate and and and point

10:30

towards.

10:32

I don't want to give religion that much

10:33

credit.

10:35

I think

10:36

religion like you know it's it's still

10:38

vague enough.

10:40

Religion has too many

10:43

I would say this I would say this when

10:45

the religion started they were not going

10:47

to be like you know they were not trying

10:48

to be a religion they were just trying

10:50

to put out the philosophies and exactly

10:52

what he's doing right now. Like you know

10:53

they they believed in certain things and

10:55

they like you know went for those right

10:57

like you know they wrote those down and

10:58

everything. What I don't like about

11:01

religion and everything in that context

11:03

is it's too like you know becomes

11:05

regimentation over time. I mean that's

11:07

how that's how people interpret it as

11:10

like but what I'm saying is at the core

11:12

Yeah. the religions of the world the

11:15

major religions of the world

11:17

are communicating these type of values

11:19

and I'm not going into the religion

11:21

piece of it what I'm saying is the

11:22

beauty of this is

11:24

and this book

11:27

is without bringing religion into it.

11:30

But he did bring religion into it in one

11:32

sense because he's calling him the

11:33

prophet so he's not going into the

11:35

rituals of it. I mean is it religion

11:37

though like you know I mean it's it's

11:40

like the god and the prophet can very

11:43

well exist outside of any religion as

11:45

well.

11:46

Right so so because you're looking from

11:48

the religious lens what if like just say

11:51

it was written even any if any religion

11:54

like before any religion that existed on

11:57

earth or like any ideas that were talked

11:58

about in that sense right calling

12:00

himself the prophet or anything that

12:01

does not mean it's a religion he can

12:04

just talk about god or

12:05

>> I correlate prophet with the religion

12:07

and most people do.

12:08

>> There you go that's what I'm saying

12:10

because the bias is there right that's

12:11

why.

12:11

>> people do most people do. Sure sure but

12:14

but that's the thing you I I think it's

12:17

just a like you know I'll take him as a

12:19

philosopher

12:21

and understand it as such because to be

12:23

honest like But but the book is not

12:25

called the philosopher it's called the

12:26

prophet. So it is a

12:29

undeniably there is a religious not

12:32

religious angle to it but he's

12:34

communicating basically what he's

12:36

communicating in this book is that

12:37

religion teaches you all this without

12:39

without going into a particular type of

12:41

religion or staying away from the

12:43

politics of religions.

12:45

I mean

12:46

personally I fail to see it still but

12:50

because also I'm going to say that

12:53

I'm not sure if I agree with this I'm

12:55

not sure if I agree with this poem like

12:57

because I think about it a lot. And

13:00

like sometimes it feels like you know

13:03

there's there's a concept called first

13:06

of all I don't think he had children or

13:08

he ever took care of his children or if

13:09

he had any. Why why do you say that?

13:12

Because I think I read up somewhere that

13:15

he didn't

13:16

and we can check that. Kahlil Gibran had

13:19

children

13:19

>> saying this whole poem is false like No

13:21

it's it's a it's a it's an idea it's

13:25

it's more of a what you want it to be.

13:29

In real life does it does it translate

13:31

into a real life situations like I don't

13:34

know because because think about this

13:36

think about this right? He says

13:39

you may give them your love but not your

13:41

thoughts. Okay I also have a problem

13:43

with that piece like thoughts I also

13:44

have a problem with that piece like

13:46

thoughts

13:48

I mean what what else are you going to

13:50

do not exist like because if they are

13:52

around you they going to get your

13:53

thoughts and what else do you pass out

13:56

pass to your children don't you pass

13:58

your values don't you pass your like

14:00

certain infrastructure like you know

14:02

structure to their life that hey this is

14:04

a good thing this is a bad thing like

14:06

you know you give them some idea but

14:08

according to this one it just feels like

14:10

there's no structure whatsoever you just

14:13

like let them be.

14:15

Right so so it's the autonomy of the

14:18

kids while they're not even aware what

14:21

life actually means we don't know either

14:24

but we at least more would know more

14:25

than them in that sense right?

14:28

So so what

14:30

to what extent like there's there's no

14:33

there is no

14:35

it's it's too vague it's too vague.

14:42

But but I I still don't think like you

14:44

know I don't agree with it in that sense

14:46

because

14:46

>> I I I agree with that part in the sense

14:49

that I disagree with you may give them

14:51

your love but not your thoughts. I know

14:52

what they're going for but yeah there's

14:54

there's there needs to be a little bit

14:56

more clarity but do you agree with

14:58

you may house their bodies but not their

15:00

souls?

15:01

Yeah

15:02

so so let me let me give you an example

15:04

like what I thought of was first time I

15:06

read it right?

15:07

While I was reading it I was like you

15:09

know

15:11

Like during the same time or something I

15:13

was

15:14

I think I recently found out about

15:16

something called as lighthouse

15:17

parenting.

15:18

Lighthouse parenting essentially means

15:21

that

15:22

like you know what it sounds like you

15:24

know and it it actually comes close to

15:26

what what he's saying is you are

15:29

essentially a lighthouse in the middle

15:32

of the ocean like you know on island or

15:34

something and your kids are essentially

15:36

a ship out in the ocean right? They can

15:39

always look back to you for direction of

15:41

where they are in the ocean if they are

15:43

lost.

15:44

Right? But you don't have any control

15:47

over how they are

15:49

managing themselves in the ocean. Yeah.

15:51

Right?

15:53

That just means that that's just from

15:56

the name right? But the the the whole

15:59

the whole concept of lighthouse

16:01

parenting came from a pediatrician

16:02

actually and she actually had kids and

16:05

she managed her own like you know took

16:07

care of her kids and everything so

16:09

um

16:10

reading more into it

16:13

like on the surface it looks like he's

16:15

saying the same thing

16:16

but when you go into depth into

16:18

lighthouse parenting you understand that

16:19

no there's still a structure there is a

16:22

still like you know certain kind of like

16:24

you know the the principle or the values

16:26

that you create around them. So for

16:28

example for example right? And I think

16:31

it will come back to this again

16:33

when I give that example right?

16:35

In lighthouse parenting I think there

16:37

was a example of um

16:40

um like let just say your kid tomorrow

16:43

like you know they get their heart

16:44

broken or they like you know lose a race

16:47

or something and they're like feel

16:48

defeated and like you know they're not

16:50

feeling

16:52

up to like you know like

16:55

essentially they're not feeling well um

16:59

they're

17:01

sitting in a dark room like you know

17:03

thinking it over and everything. Now

17:06

is your job and metaphorically and

17:09

literally is your job to go turn on that

17:12

light

17:13

or your job is to go sit with them in

17:16

the dark while they figure out what's

17:18

happening.

17:20

Right? And think about this while he

17:23

says

17:24

you may give them your love but not your

17:26

thoughts. So while you are sitting with

17:29

them in that dark room you're giving

17:31

them your love your support but you're

17:33

not giving them your thoughts.

17:35

You're not giving them how to deal with

17:38

it you're letting them deal with it but

17:40

you are in that like you're just

17:42

providing support with you're not fixing

17:44

the problem for them you're being with

17:46

them in the problem. Yeah. And there's a

17:48

difference there right? So so I think

17:53

like when I first read it I didn't agree

17:55

with it but then I read the lighthouse

17:57

parenting and then I came back to it and

17:58

I was just like oh that makes sense if

18:00

we go in certain details and try to

18:02

understand it a little bit.

18:04

>> certain scenarios this makes sense. Yes

18:07

yeah yeah yeah yeah like certain things

18:09

like you know yeah if you just like

18:10

don't give them your thoughts whatsoever

18:12

like you know like your kid is like you

18:14

know

18:15

beating someone up in the street and you

18:16

can't even tell them that hey dude don't

18:18

do that like that's that's bully

18:20

behavior and that's not okay right?

18:23

Then that's not okay like you have to

18:25

give them your thoughts of like how you

18:26

feel about it and they shouldn't be

18:28

doing that to other kids you know. So so

18:31

yes in certain scenarios it it makes

18:33

sense. Yeah but I think that's a given

18:35

I think that's a given.

18:37

What is a given? Like that type of like

18:39

this

18:40

this is not telling you like what what

18:42

the baseline of parenting is. This is

18:44

like going into

18:45

No but I think the biggest problem is

18:48

that like is is parents trying to fix

18:50

the problem of the kids for the kids you

18:52

know and and because

18:55

somehow they have taken the

18:58

role of an entertainer in their life

19:01

where it's their job that when they're

19:03

sad it's somehow parents is job to cheer

19:06

them up. Like

19:08

instead of teaching the kid how to cheer

19:10

themselves up because it's going to take

19:12

time what it's going to take time like

19:14

you know the the the process. Right?

19:19

And you can like you know make an effort

19:21

or something but

19:26

You know like you have to go sit with

19:28

them support them listen to and and I'm

19:31

not talking out of like you know just

19:34

thin air like I've spoken to parents

19:36

about it and

19:37

try to understand different parenting

19:39

styles to to see how do they manage it

19:43

like you know how do they manage the

19:44

first heartbreak or or or like you know

19:47

failing an exam or like something they

19:50

They worked hard for and didn't make it,

19:52

you know. Um how? And also

19:56

again, how you manage it. Like, you

19:58

know, because they're going to learn

19:59

from you as well. Like, you know, you're

20:00

going to have a bad day. Uh when do you

20:02

when you come home after a bad day, how

20:04

do you

20:05

manage it?

20:06

Right?

20:07

Uh that's going to give them some

20:08

guidance. So, um even without you saying

20:12

anything, even without you telling them

20:14

they

20:15

either I would have thought of my case

20:16

say I'm dealing with it, right? Like,

20:18

it's not that. It's just observing you.

20:21

Yeah. In your day-to-day life, right?

20:22

So,

20:23

um

20:29

Yeah.

20:30

>> [laughter]

20:31

>> But, uh but that stability part though,

20:33

I I actually this that's like you said

20:35

that key well, a client only

20:38

well, heavy well, yeah. Uh like I think

20:41

the the whole parenting is in that one

20:43

line. Yeah. Is that that you have to be

20:45

that stable bow. You have to be that

20:47

stable bow for them to go far.

20:50

Yeah. It It wouldn't have to be that

20:52

hard like

20:53

you have to have a good interview

20:55

and say you can say I think about taking

20:58

a new one or not but

21:00

essentially conservative values and the

21:02

rebel that you get rebellion that you

21:04

get against them. Like, you know, how

21:06

does it work? Like, you know, that why

21:08

is it necessary? So, so he said that

21:11

they're both necessary in the society in

21:13

the in the context of key

21:23

Mhm. Uh

21:24

yeah, like you know,

21:26

whatever. Yeah, exactly. Cowboy style,

21:27

right?

21:30

Who's that guy go? Who's that guy go

21:32

somewhere to go conservative values of

21:34

society or would you put that rebellion?

21:36

Mhm. Right?

21:39

You need both of them.

21:42

Who's that guy

21:43

to rather to rather have you have to

21:44

have to have to have to have to have to

21:46

have to have to have to have to have to

21:47

have to have to have to have to have to

21:47

have to have to have to have to have to

21:48

have to

21:49

You need both of them. Been a rebellion

21:52

been a good guy

21:53

with that guy with that guy with that

21:54

guy with that guy with that guy with

21:55

that guy with that guy with that guy

21:56

with that guy with that guy with that

21:57

guy with that guy with that guy with

21:58

that guy with that guy with that guy

21:59

with that guy with that guy

22:01

And at the same time, without that

22:03

thread

22:05

that but that that rock is going to fly

22:07

away Yeah. without any control. Yeah.

22:10

Right? It's a push and pull.

22:12

The way it works is like, you know, you

22:14

have the rotation and you let loose

22:17

every single rotation. You let loose a

22:19

little bit. You lose it. It goes further

22:21

and further and further, Yeah. You trust

22:24

the thread to bring it back. Exactly.

22:26

Right?

22:40

Yeah.

22:53

Yep. And and and that's what we

22:55

understand the society overall, right?

22:57

Like, you know, I'm getting to think

22:58

that you look at the society

23:00

conservative values or rebellion or

23:02

up left is right is you be a but but

23:04

they're both important to the um

23:07

you know,

23:09

to to make the society and balance it

23:11

out.

23:12

Um right now, we're living in extremes.

23:14

So, I don't know how the

23:15

how the society is going to balance

23:17

itself out but at some point it will, I

23:18

think.

23:23

Yeah. Yeah. That's what they keep saying

23:25

and that's what I'm holding on to but

23:27

let's hope

23:28

uh

23:29

yeah, we we come back to some saner or

23:32

sanity.

23:34

Yeah.

23:42

Yeah.

23:45

We're going to let you guys guess in the

23:47

we're not going to explicitly say it.

23:49

But when we we're calling out for

23:51

sanity, it means we are on the other

23:52

side right now, right? So, obviously.

23:55

Yeah. Yeah.

23:56

Yeah. But um but yeah, that was actually

23:58

I think a wonderful poem to cover. Yeah,

24:01

and a great book to read. There's other

24:03

topics in here. I would

24:04

you know, recommend our listeners and

24:07

our

24:08

viewers to go check it out. It's a very

24:10

small book. It's probably the easiest

24:12

book to read cuz you can pick up a

24:14

chapter

24:16

I I sit with it. Like, easier in the

24:18

sense that to read, yes, but you have to

24:21

sit with that chapter. Like, I I have I

24:23

still haven't finished it. Uh

24:31

because I want to sit with that poem and

24:33

I want to like let it settle in. Yeah.

24:36

Then it's kind of it's my just say

24:38

second Joe favorite hair.

24:40

I think it that's became the first

24:42

favorite. I think it's it's called

24:43

reason and passion. I'm trying to find

24:45

it. But but check that one out as well

24:47

and I think we should cover it.

24:52

How

24:54

he connected um

24:57

you know, like this whole divinity to

25:00

how your reasons and your passions are

25:01

like your logic and your your you know,

25:10

passion and how you can say

25:12

balance out that the circle of how you

25:14

can use use that to you.

25:18

Do you want to read it or do we do it in

25:19

another episode? No, another episode.

25:21

Like, that one needs yeah, reason and

25:23

passion. Yeah, that one needs its own

25:24

episode.

25:32

Yeah,

25:33

that's very good. I'm excited. We should

25:34

do more. I think there's 26 of them in

25:36

here and we can even find more

25:39

>> [music]

25:39

>> interesting ones

25:41

and bring some more.

25:42

All right.

25:43

Well, thank you, everyone. Thank you.

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