Blind men and an elephant

The parable of the blind men and an elephant is a story of a group of blind men who have never come across an elephant before and who learn and imagine what the elephant is like by touching it. Each blind man feels a different part of the animal's body, but only one part, such as the side or the tusk. They then describe the animal based on their limited experience and their descriptions of the elephant are different from each other. In some versions, they come to suspect that the other person is dishonest and they come to blows. The moral of the parable is that humans have a tendency to claim absolute truth based on their limited, subjective experience as they ignore other people's limited, subjective experiences which may be equally true. The parable originated in the ancient Indian subcontinent, from where it has been widely diffused.
The Buddhist text Tittha Sutta, Udāna 6.4, Khuddaka Nikaya, contains one of the earliest versions of the story. The Tittha Sutta is dated to around c. 500 BCE, during the lifetime of the Buddha. Other versions of the parable describes sighted men encountering a large statue on a dark night, or some other large object while blindfolded.
In its various versions, it is a parable that has crossed between many religious traditions and is part of Jain, Hindu and Buddhist texts of 1st millennium CE or before. The story also appears in 2nd millennium Sufi and Baháʼí Faith lore. The tale later became well known in Europe, with 19th-century American poet John Godfrey Saxe creating his own version as a poem, with a final verse that explains that the elephant is a metaphor for God, and the various blind men represent religions that disagree on something no one has fully experienced. The story has been published in many books for adults and children, and interpreted in a variety of ways.
The earliest versions of the parable of blind men and the elephant are found in Buddhist, Hindu and Jain texts, as they discuss the limits of perception and the importance of complete context. The parable has several Indian variations, but broadly goes as follows:
In some versions, the blind men then discover their disagreements, suspect the others to be not telling the truth and come to blows. The stories also differ primarily in how the elephant's body parts are described, how violent the conflict becomes and how (or if) the conflict among the men and their perspectives is resolved. In some versions, they stop talking, start listening and collaborate to "see" the full elephant. In another, a sighted man enters the parable and describes the entire elephant from various perspectives, the blind men then learn that they were all partially correct and partially wrong. While one's subjective experience is true, it may not be the totality of truth.
The parable has been used to illustrate a range of truths and fallacies; broadly, the parable implies that one's subjective experience can be true, but that such experience is inherently limited by its failure to account for other truths or a totality of truth. At various times the parable has provided insight into the relativism, opaqueness or inexpressible nature of truth, the behavior of experts in fields of contradicting theories, the need for deeper understanding, and respect for different perspectives on the same object of observation. In this respect, it provides an easily understood and practical example that illustrates ontologic reasoning.
The Rigveda, dated to have been written down (from earlier oral traditions) between 1500 and 1200 BCE, states "Reality is one, though wise men speak of it variously." According to Paul J. Griffiths, this premise is the foundation of universalist perspective behind the parable of the blind men and an elephant. The hymn asserts that the same reality is subject to interpretations and described in various ways by the wise. In the oldest version, four blind men walk into a forest where they meet an elephant. In this version, they do not fight with each other, but conclude that they each must have perceived a different beast although they experienced the same elephant. The expanded version of the parable occurs in various ancient and Hindu texts. Many scholars refer to it as a Hindu parable.
The parable or references appear in bhasya (commentaries, secondary literature) in the Hindu traditions. For example, Adi Shankara mentions it in his bhasya on verse 5.18.1 of the Chandogya Upanishad as follows:
The medieval era Jain texts explain the concepts of anekāntavāda (or "many-sidedness") and syādvāda ("conditioned viewpoints") with the parable of the blind men and an elephant (Andhgajanyāyah), which addresses the manifold nature of truth. This parable is found in the most ancient Jain agams before 5th century BCE. Its popularity remained till late. For example, this parable is found in Tattvarthaslokavatika of Vidyanandi (9th century) and Syādvādamanjari of Ācārya Mallisena (13th century). Mallisena uses the parable to argue that immature people deny various aspects of truth; deluded by the aspects they do understand, they deny the aspects they don't understand. "Due to extreme delusion produced on account of a partial viewpoint, the immature deny one aspect and try to establish another. This is the maxim of the blind (men) and the elephant." Mallisena also cites the parable when noting the importance of considering all viewpoints in obtaining a full picture of reality. "It is impossible to properly understand an entity consisting of infinite properties without the method of modal description consisting of all viewpoints, since it will otherwise lead to a situation of seizing mere sprouts (i.e., a superficial, inadequate cognition), on the maxim of the blind (men) and the elephant."
The Buddha twice uses the simile of blind men led astray. The earliest known version was recorded in the one of Buddhist scriptures, known as Tittha Sutta.
In another scripture known as Canki Sutta, the Buddha describes a row of blind men holding on to each other as an example of those who follow an old text that has passed down from generation to generation. In the Udana (68–69) he uses the elephant parable to describe sectarian quarrels. A king invited a group of blind men in the capital to be brought to the palace, where an elephant is brought in and they are asked to describe it.
The men assert the elephant is either like a pot (the blind man who felt the elephant's head), a winnowing basket (ear), a plowshare (tusk), a plow (trunk), a granary (body), a pillar (foot), a mortar (back), a pestle (tail) or a brush (tip of the tail).
The men cannot agree with one another and come to blows over the question of what it is like and their dispute delights the king. The Buddha ends the story by comparing the blind men to preachers and scholars who are blind and ignorant and hold to their own views: "Just so are these preachers and scholars holding various views blind and unseeing.... In their ignorance they are by nature quarrelsome, wrangling, and disputatious, each maintaining reality is thus and thus." The Buddha then speaks the following verse:
The Persian Sufi poet Sanai (1080–1131/1141 CE) of Ghazni (currently, Afghanistan) presented this teaching story in his The Walled Garden of Truth.
Rumi, the 13th Century Persian poet and teacher of Sufism, included it in his Masnavi. In his retelling, "The Elephant in the Dark", some Hindus bring an elephant to be exhibited in a dark room. A number of men touch and feel the elephant in the dark and, depending upon where they touch it, they believe the elephant to be like a water spout (trunk), a fan (ear), a pillar (leg) and a throne (back). Rumi uses this story as an example of the limits of individual perception:
Rumi does not present a resolution to the conflict in his version, but states:
Rumi ends his poem by stating "If each had a candle and they went in together the differences would disappear."
In Japanese, the proverb is used as a simile of circumstance that ordinary men often fail to understand a great man or his great work.
In Chinese, the proverb means failure to see the whole picture, for example, due to improper generalization.
One of the most famous versions of the 19th century was the poem "The Blind Men and the Elephant" by John Godfrey Saxe (1816–1887):
In the poem, each man concluded that the elephant was like a wall, snake, spear, tree, fan or rope, depending upon where they had touched. Their heated debate comes short of physical violence, but the conflict was never resolved.
An elephant joke inverts the story in the following way, with the act of observation severely and fatally altering the subject of investigation:
Moral:
Idries Shah commented on an element of self-reference by readers of the story in one of the many interpretations of the story, and its function as a teaching story:
Shah adapted the tale in his book The Dermis Probe. This version begins with a conference of scientists, from different fields of expertise, presenting their conflicting conclusions on the material upon which a camera is focused. As the camera slowly zooms out it gradually becomes clear that the material under examination is the hide of an African elephant. The words 'The Parts Are Greater Than The Whole' then appear on the screen. This retelling formed the script for a short four-minute film by the animator Richard Williams. The film was chosen as an Outstanding Film of the Year and was exhibited at the London and New York film festivals.
The story is seen as a metaphor in many disciplines, being pressed into service as an analogy in fields well beyond the traditional. In physics, it has been seen as an analogy for the wave–particle duality. In biology, the way the blind men hold onto different parts of the elephant has been seen as a good analogy for the polyclonal B cell response or for the reasons why it is challenging to find new drugs to treat diseases such as cancer or Alzheimer's disease. In medicine, the story has also been used to describe situations where diseases such as chronic obstructive pulmonary disease (COPD) are treated as several other diseases instead.
The Russian preface to a collection of Lewis Carroll's works (including such books as A Tangled Tale) includes the story as an analogy to the impression one gets from reading a few articles about Carroll, with him only being seen as a writer and poet by some, and a mediocre mathematician by others. The full picture, however, is that "Carroll only resembles Carroll the way an elephant only resembles an elephant".
The story enjoys a continuing appeal in media, as shown by the number of illustrated children's books of the fable; for example, the children's book Seven Blind Mice, by Ed Young (1992) and one by Paul Galdone. In the title cartoon of one of his books, cartoonist Sam Gross postulated that one of the blind men, encountering a pile of the elephant feces, concluded that "An elephant is soft and mushy."
Touching the Elephant was a 1997 BBC Radio 4 documentary in which four people of varying ages, all blind from birth, were brought to London Zoo to touch an elephant and describe their response.
Ship of Theseus, a 2012 Indian philosophical drama named after the eponymous thought experiment, also references the parable.
Natalie Merchant sang Saxe's poem in full on her Leave Your Sleep album.
The name of Michael Nesmith's Grammy award-winning 1981 music video special 'Elephant Parts' references the parable.