The Elephant in the Dark

A Candle Would Have Settled It

The elephant was in a dark house: some Hindús had brought it for exhibition.In order to see it, many people were going, every one, into that darkness.As seeing it with the eye was impossible, (each one) was feeling it in the dark with the palm of his hand.The hand of one fell on its trunk: he said, “This creature is like a water-pipe.”The hand of another touched its ear: to him it appeared to be like a fan.Since another handled its leg, he said, “I found the elephant’s shape to be like a pillar.”Another laid his hand on its back: he said, “Truly, this elephant was like a throne.”Similarly, whenever any one heard (a description of the elephant), he understood (it only in respect of) the part that he had touched.On account of the (diverse) place (object) of view, their statements differed: one man entitled it “dál,” another “alif.”If there had been a candle in each one’s hand, the difference would have gone out of their words.

Masnavi III.1259–1268 · tr. R. A. Nicholson, 1930

Sanāʾī and al-Ghazālī made the men blind; Rūmī made the place dark — a change Nicholson names in his 1940 commentary — so the fault moves from the seers to the missing light, and where Ghazālī had concluded that each man spoke the truth so far as his knowledge reached, Rūmī concludes that a candle would have ended the argument.


Men feel an elephant in a dark house — Ghazālī read it as each man's partial truth; Rūmī blames the dark.

The story is older than Rūmī and older than Islam. Its earliest surviving form is Udāna 6.4 in the Pali canon: a king in Sāvatthī has people blind from birth shown an elephant, and the Buddha's target is the teachers of rival sects. Al-Ghazālī (d. 1111) tells it in the Iḥyāʾ and Sanāʾī (d. 1131) in the Ḥadīqa, both with blind men; Nicholson's 1940 commentary names Rūmī's change. At Mathnawī III.1259 the elephant stands in a dark house and the men are not blind, only unable to see. “If there had been a candle in each one's hand, the difference would have gone out of their words” (III.1268). Ghazālī had concluded that every man spoke the truth so far as his knowledge reached; Rūmī concludes that a candle was missing.

Light

A quarrel that looks like a clash of convictions may only be a shortage of light. Rūmī puts the remedy within reach — not a better argument but a candle — and III.1269 keeps the humbling image: the eye of sense-perception is only a palm.

Shadow

Quoted as a charter for pluralism, it was never used as one: Ghazālī told it against his critics, and Rūmī closes at III.1270 — leave the foam, look with the eye of the Sea. The remembered line, “each was partly in the right”, is Saxe's.

Sources and verification7 sources · 10 links

Primary source

Scholarship

  • Reynold A. Nicholson, The Mathnawí of Jalálu'ddín Rúmí, vol. VIII: commentary on books III–VI (Gibb Memorial Series), 1940, note on the Heading preceding III.1259That the apologue occurs in Sanāʾī's Ḥadīqa, Book I, 8, 10 sqq. and al-Ghazālī's Iḥyāʾ, iv 7, 10 sqq., both considerably fuller than Rūmī's; that 'while Saná'í and Ghazálí describe the people who handled the elephant as blind ('umyán), Rúmí says they could not see it because of the darkness of the place'; that Ghazālī tells it in reply to criticism of his view that there is no fundamental contradiction between jabr and kasb; and Ghazālī's summing-up, 'Every one of these persons spoke the truth in a way, since he described the qualities of the elephant so far as his knowledge of it reached; yet the whole party failed to comprehend the real form of the elephant' and 'it illustrates the nature of most of our (religious) controversies.'
  • Franklin D. Lewis, Rumi: Past and Present, East and West, rev. ed., 2008, the chapters on the Mathnawī's composition and chronologyThe sequence and dating of the six books — Book I from about 1262, Book II resumed about 1264, Books III to VI dictated before Rūmī's death on 17 December 1273 — and how loose English versions shaped the Rūmī now quoted.

The tradition itself

  • Masnavi III, against al-Ghazālī's earlier use of the same parableThe esoteric reading given on this entry

Further reading

  • Ibrahim Gamard, Dar al-Masnavi (dar-al-masnavi.org), 'Quarreling Over Shapes'; and the parallel text at masnavi.netA free parallel text of III.1259 onward with Nicholson's Commentary quoted in the footnotes — where the note on the Heading, including the Ḥadīqa and Iḥyāʾ loci, the blind-versus-dark sentence and Ghazālī's summing-up, can be read without the Gibb Memorial volume.

Linked entries

  • Derives fromReynold A. NicholsonAttested

    The English quoted here is Nicholson's, from his 1930 translation of Book III; his 1940 commentary is where Rūmī's departure from Sanāʾī and al-Ghazālī is named, and where Ghazālī's own conclusion is quoted against it.

  • Set againstOut Beyond Ideas of Wrongdoing and RightdoingAttested

    Both are quoted as Rūmī the pluralist — but this one survives in the Persian and ends by telling the reader the senses fall short, while the famous four lines are shaped by their English translator.

  • Part ofThe MasnaviAttested

    A tale from Book III of the Masnavi, beginning about line 1259.

  • Attributed toRūmīAttested

    A tale of Rūmī's Masnavi, Book III, retold from Sanāʾī and al-Ghazālī.

  • Set againstThe Chickpea to the CookAttested

    Both sit in Book III and both turn on an elephant, but not the same one: the beast felt in a dark house at III.1259, and at III.4199 the elephant dreaming of Hindustan that the chickpea asks to be beaten out of.

  • Set againstThe Song of the ReedAttested

    The same poem makes its case twice over: here by an image the poet states outright, and in Book III by a story he inherited and leaves the reader to work out.

  • Set againstThe Dream of the Treasure in CairoAttested

    Both are tales Rumi inherited rather than invented: the elephant from Sanāʾī and ultimately India, this one from Arabic prose that names al-Tanūkhī (d. 994).

  • Set againstThe Lion and the HareAttested

    Two Masnavi tales of seeing wrongly: the lion takes his own image for an enemy, and the men in the dark house take a part for the elephant — one error Rūmī lays on the self, the other on the missing candle.

  • Set againstThe Four Men and the GrapesAttested

    Two quarrels over one thing, a book apart: in Book III men in a dark house fight over an elephant's parts and a candle would have ended it; here four men fight over a fruit's names, and a many-languaged master would have ended it.

  • Set againstDaqūqī and the Seven CandlesAttested

    Some seven hundred lines earlier in Book III a candle in each hand would have ended the quarrel over the elephant; here the candles are burning on the shore and the crowd, eyes bandaged, still sees nothing.