Keywords

Let me begin with Indian mythology – the narrative of Shiva (Hindu God who is a wandering ascetic, detached from all things worldly, self-contained, uncultured, emotionless, a formless Divinity worshipped as phallus) and his journey toward becoming Shankara (a householder with wife and children). As the Indian philosophy is weaved around two aspects of truth – the Purusha and the Prakriti, the worldly life is an amalgamation of Purusha and Prakriti, of Absolute Consciousness and Nature. Shakti (the force of Nature, the feminine aspect of life) transformed Shiva from a Yogi to be creatively engaged in the life of a householder. So, Shiva, otherwise withdrawn from all material affairs, experiences agony and anger, when his consort Sati (a form of Shakti) jumps into the sacred fire so as to make her arrogant and controlling father realize the value of her husband Shiva. Her father did not approve of her going away with Shiva and insulted Shiva in a gathering of eminent people. Shiva also sees the fear that grips the world as well as the unconditional love of Sati for Him. Shiva is pained. His composure returns only when Vishnu (the sustainer of all life) intervenes.

Later on, Sati is reborn as Parvati, who is determined to marry Shiva, for which she engages in intense austerity with complete devotion. Her desire to marry Shiva is not for her own good but for the greater good as only Shiva could liberate the world from the fetters of desire and fear. Parvati asks Shiva to request her hand in marriage from her father and they get married with her father’s approval. This is how Shankara ensues. Gradually, Shiva also accepts food from the hands of his consort Parvati (form of Shakti, who appears as Deity Annapurna – Goddess of Food and Nourishment), symbolizing his arrival into the material world, and his engagement based on affection and empathy, and not anger. Shiva also proclaimed to the world that he is incomplete without Shakti and hence takes the form of “Ardhnarishwara” (half woman-half man) (Arora & Srivastav, 2014; Pattanaik, 2011).

One must be wondering what is the relevance of this story in the context of emotions, emotional creativity, and authentic self? Within the Indian approaches, Samkhya and Yoga adopt a dualistic perspective regarding matter/material world/ nature/Prakriti and the eternal spirit or soul/supreme reality/Purusha that resides in each living being. Purusha and Prakriti are the two principles of reality. Thus, each living being has an individualized Purusha or Atman. The story above reveals that being human is to realize how nature encapsulates the supreme reality – Purusha. The story also reveals that growth and evolution can only take place when we are creatively engaged in life, with a consciousness that this body, this life is not permanent, when we can overcome fear with love and devotion. Shiva symbolizes this wisdom and consciousness, Shakti (Sati/Parvati) symbolizes the play of nature, and they need to come together for the material world to realize its spiritual potential. This narrative helps pave the path for understanding how authentic emotional experience facilitates the ultimate realization of Truth, and that emotions are not distractors in the path of seeking self-realization. Thus, emotions are necessary for not just our survival, but growth too. Only when we experience anger, can we overcome anger. When we are afraid, we are motivated to outgrow fear. Emotions also symbolize deeper issues behind their genesis. For instance, anger could have deep underlying feelings of insecurity or grief or something painful. Jealousy could emanate from fear of losing something and could translate into hate. Emotions are like communications or signals from our soul through bodily feelings, and they need to be deciphered in the context of human growth and motivation, having profound influence on our wellbeing. Paul Ekman, a pioneer in the field of affective sciences, has also explored transformation of self and emotions through ancient spiritual and meditative practices in his conversations with the Tibetan Spiritual leader the Dalai Lama, which has been published in the form of a book “Emotional Awareness” (Dalai Lama & Ekman, 2008). This transformation requires emotional creativity – awareness of our true self, which is not rooted in negative emotions but is anchored in stability and tranquility.

This chapter can be seen as an exploration in emotional creativity as a tool for self-transformation, as manifested in the life of Mahatma Gandhi. The author begins with discussing the eastern and western perspectives on emotions, followed by the transformative role of emotion in one’s life, with special reference to the concept of emotional creativity. The last section deals with identifying and elaborating themes in Gandhi’s life, themes that relate emotional experiences with growth.

Emotion and Reason: Some Perspectives

Emotions – a very pervasive and central aspect of being human – are experienced by each one of us in different forms, degrees, and combinations. They help us gain self-awareness, help bridge boundaries between people, build relationships, and define our wellbeing. If not understood and managed properly, they can be powerful enough to destroy relationships, shatter self, and be the cause of despair. Understanding emotions, its cultural variance, its complexity, and its management has been the focus of many psychologists’ work (like Goleman, 1995; Mayer & Salovey, 1997; Saarni, 1999). But for many centuries, Western philosophers regarded emotions or passions, as they were sometimes called, subsidiary to the more respected and desirable processes of “reason.” The Cartesian tradition believed in the separate existence of mind and body. It led to the development of psycho-physiological parallelism, implying that every mental/psychological phenomenon has a physiological counterpart, or mind has correspondence with the material body (Paranjpe, 1984). Certain thinkers also believed that mind and body interact with each other. Hence, emotions in the Western thought could also be reduced to physiological processes, unlike cognition or reason which was regarded as immaterial (not having a material or bodily correlate) (Tuske, 2016). It seemed as if reason and emotion were antithetical to each other, and that reason was much more valued than emotion. It was also indicated by some that emotion/passion needs to be brought under control through logic and reason. However, it cannot be denied that both reason and passion are necessary for a balanced life. There is an opportunity to draw a parallel with the narrative of Shiva’s transformation into Shankara, and his assuming the quality of ardhnarishvara – the androgynous form with both masculine and feminine halves. Masculinity is akin with reason (and more deeply in Indian thought with the “being,” the all-pervading consciousness, the static Shiva) and femininity with emotion (more deeply in Indian thought as a part of “becoming,” the play of Nature, the dynamic Shakti). Thus, amalgamation of both cognition and emotion marks the harmony of existence (Raveesh, 2013).

Even recent research and theoretical developments in emotion suggest how emotion is wedded to reason (Salovey & Mayer, 1990). Beginning with the Schachter and Singer theory (1962) that underscored appraisal and labeling of emotions as important components in conceptualizing emotions, the cognitive appraisal theory of emotions emphasizes the centrality of cognitive appraisal or interpretation of the situation in experiencing emotions. It is empirically established that emotions can be controlled and/or modified by cognitions and context (Lazarus & Folkman, 1984; Lazarus, 1991). Emotions and cognition are in constant interaction, and a dual-process understanding of this interaction is reductionist. A focus must be placed upon studying their interactions as asserted by Phelps and Ochsner (2007). A movement toward a more holistic approach is implied.

Indian Perspective on Emotions

Here, the Indian perspective on emotions which rejects the Cartesian dichotomy of mind and body is discussed. Rao and Paranjpe (2016, p. 122) state, “In the Western formulation of dualism, there is the perennial and the seemingly unsolvable problem of the interaction between mind and body.” Most Western theories, in their inability to resolve the mind–body complex, adopt a mechanistic view of human nature (reducing them to stimulus-response aggregates or physiological substrate) and liken human beings as rational “hedonistic calculus” (term coined by Bentham, 1789), with their behavior being guided by the cost (pain) – benefit (pleasure) analysis. This is a very reductionist and analytic approach. They have also looked at reason and emotions as separate, with emotions as aberrations or obstacles to rational thought. However, Indian approach has a different schematization of the whole thing which lies in the principle of unity and wholeness.

In very simplistic terms, Indian approach regards both reason and emotion as the qualities of mental functioning, which is different from the real self. Thus, both reason and emotions have to be transformed into something higher, in one’s path of self-realization or liberation. Another way of looking at reason/cognition and passion/emotion is to see these as aspects of ignorance (misidentification of ego as the true self) and thus interference in the path of self-realization, which needs to be overcome through Yoga, Sadhana, meditative practices, and the like. Thus, we can say that in the Indian approach, both reason and emotion are accorded the same status, that is, as the dynamics or play of Nature or Prakriti. They both are material and belong to Prakriti. They both need to be transcended to realize one’s true self – which is beyond pleasure and pain, described through the term “sat-chit-anand” (existence-consciousness-bliss). The continuity of the physical, psychological (mental), and spiritual realms of existence is inherent in the Indian approach. Hence, self in Indian thought is conceived as multilayered and multidimensional that has the capability to accommodate paradoxical emotions and cognitions. The PanchaKosha theory that regards human personality as consisting of five (pancha) different sheaths (kosha) is one such example. These five sheaths include material or gross body (AnnamayaKosha), the vital or breath component (PranamayaKosha), the mental or psychological component (ManomayaKosha), the intellectual component (VigyanmayaKosha), and the seat of experiencing pure bliss (AnandmayaKosha) (Satpathy, 2018; Paranjpe, 1984). It is the ManomayaKosha which is related to desires, striving, and attachments, and the VigyanamayaKosha which is related to well-defined ego. Both these sheaths are primarily responsible for creating emotions that we experience in daily life. Emotions in Indian thought is viewed in the context of atman/individualized Purusha (true self) and ahamkar (ego) and are viewed as caused by desires (Ramaprasad, 2013). In fact, it is very strongly suggested that if one needs to get rid of one’s suffering, or intense emotional experiences like fear or anger, one must look behind the origins of these emotions in terms of desires.

Unfulfilled desires cause anger (Krodha), jealousy (Asuya), unhappiness (Dukha), and suffering. Fulfilled desires cause happiness (Sukha) and enjoyment. The nature of these emotions, like the kind of happiness one would feel, rests on the balance of the three gunas of Prakriti: Sattva, Rajas, and Tamas.

Both Samkhya and Yoga schools of thought propound that the cause of human suffering is ignorance (avidya): ignorance that the body, mind, and ego are the true self and the center of existence, ignorance that worldly pleasures are the path to bliss, and ignorance that the impermanent physical reality is the only reality. Ignorance leads to attachment to the world and identification of self with external objects. These misperceptions which are based on our desires, attachments, and aversions make human suffering inevitable and burden us with afflictions or klesas. Ego (asmita), pleasure seeking (raga), avoidance of pain (dvesa), and the desire to live (abhinivesa) are the four forms of klesas that originate from ignorance and become sources of suffering. Both these approaches propose a way out of these afflictions through following the spiritual path of realizing the true self (atman).

Transformative Power of Emotions

The aforementioned description should in no way imply that emotions in Indian thought are only seen as detrimental. Rather they can be seen as signals for self-growth and as reminders for seeking ways out of our suffering. In the words of Sri Aurobindo, “Pain is the hammer of the Gods to break a dead resistance in the mortal’s heart” (Savitri, Book VI, Canto II). Emotions are the function of ahamkara (ego) and not atman (true self) (Ramaprasad, 2013). Bliss and not suffering is the true nature of atman/Purusha, and to experience the state of bliss requires immense effort. Sri Aurobindo, in Savitri, writes:

Was then the sun a dream because there is night?

Hidden in the mortal’s heart the Eternal lives:

He lives secret in the chamber of thy soul,

A Light shines there nor pain nor grief can cross.

A darkness stands between thyself and him,

Thou canst not hear or feel the marvelous Guest,

Thou canst not see the beatific sun.

O queen, thy thought is a light of the Ignorance,

It’s brilliant curtain hides from thee God’s face.

It illumes a world born from the Inconscience

But hides the Immortal’s meaning in the world.

Thy mind’s light hides from thee the Eternal’s thought,

Thy heart’s hopes hide from thee the Eternal’s will,

Earth’s joys shut from thee the Immortal’s bliss….

Where Ignorance is, there suffering too must come;

Thy grief is a cry of darkness to the Light;

… But pain came first, then only joy could be.

Pain ploughed the first hard ground of the world-drowse.

By pain a spirit started from the clod,

By pain Life stirred in the subliminal deep.

Interned, submerged, hidden in Matter’s trance

Awoke to itself the dreamer, sleeping Mind;

   – Sri Aurobindo, Savitri, Book VI, Canto II, pp.442-44

These lines, in the epic poem Savitri, clearly show how the human mind (cognition) and heart (emotion), colored with ignorance, hide the true knowledge and Eternal Will. Yet, this pain is necessary for the Spirit to be realized. In sharp contrast to the Western theories of emotion which consider rational thinking devoid of any emotion as the goal of removing the afflictions, Indian approach regards the realization of sat-chit-anand (the true nature of Purusha) as the end. Both emotions and cognitions are seen as impediments or rather challenges on the path of realization of Purusha by Prakriti that can be overcome by right knowledge and spiritual efforts.

Mahatma Gandhi’s life in this context becomes more relevant as his incessant quest for truth under all circumstances gives us much unique learning about self-transformation and self-control. Indian approach to emotions and emotional response is particularly sensitive to the contextual realities and takes into consideration concern for others, ethical/moral values, and fulfillment of one’s duties (Sibia & Misra, 2011, p. 292).

Within the Western approach, the conceptualization of emotions has come a long way from being initially considered as a primitive instinctual response, divorced from cognitive functioning and inferior to reason, to a more nuanced approach of controlling and managing emotions (emotional intelligence, emotional competence, etc.). However, both these concepts do not advocate transforming one’s emotions in any way, and they regard cognitions superseding feelings. They focus more on becoming aware of the emotions and moderating the behavioral expression of the emotions experienced. While the concept of emotional intelligence did bring an end to the primitive conceptualization of emotions, at its very core remained the idea of emotional regulation – how to appropriately express emotions in settings where higher cognitive functioning was required. Somewhere, though discarding the idea of emotions being animal reflex, the idea that they needed to be “tamed” by reason continued to be a dominant voice in the field of psychology.

Emotional creativity (Averill & Thomas-Knowles, 1991), on the other hand, integrates reason and emotion and includes modification or sculpting of emotions and even developing new emotions/forms of emotions for a more productive life. It is the capacity to experience one’s emotional experiences in novel and unique ways that are authentic to us as well as effective.

Averill (1999a) has identified four dimensions of emotional creativity: (a) Novelty, which represents the ability to experience new or uncommon emotions; (b) Effectiveness, that is the creative emotional response is potentially useful for the person or community; (c) Authenticity, which implies that the creative response is a skillful and an honest reflection of individual’s own beliefs and values and is their true expression rather than a puppetry of society’s expectations; and (d) Preparedness, which entails understanding and learning from one’s own and other’s emotions that requires consistent efforts.

It entails appraising situations in novel ways and not how the world would normally do, or even how one would normally do. This aspect is crucial, since it offers scope of self-renewal and change. One can learn to appraise emotions in diverse ways that are effective. It also entails responding to situations with a deeper understanding facilitated by the complexity of the emotions experienced. The concept of emotional creativity encompasses passion and reason, the affective (feeling) as well as cognitive (thinking) components, and accords a lot of importance to the power of emotions in helping people grow. Another central component of emotional creativity is effectiveness, which requires appropriate action manifesting directly or indirectly the emotions in creative ways. It is expressed in our responses to people, work, and the world at large. Thus, effectiveness of the emotional response is not limited to one’s own self but others as well. An emotionally creative response is defined as a response that is novel or original, authentic, and effective (Averill, 1999a). While emotional intelligence is related to how an individual reasons with emotions, emotional creativity deals with the richness of emotional experiences in a person’s life. Thus, an emotionally intelligent person would know diverse ways to regulate emotions and an emotionally creative person would be capable of appreciating and experiencing complex emotions (Pringle et al., 2007).

Misra (2011), making the case for Indian perspective on the transformative potential of emotions, states “We may opt for an emotionally creative life by paying attention to our feelings, cultivating certain habits of thoughts; practicing to experience certain mental states, and encouraging desired emotional positioning of self toward own self and others” (p. 379).

Emotional Creativity as a Tool for Self-Transformation

In today’s times, the concept of emotional creativity is more relevant and applicable. The concept is also closer to Indian thought, as it regards emotions not an end in themselves; they can serve as an impetus for growth and self-renewal, as well as societal transformation. The crux of Indian perspective is transformation of self toward the realization of true self. Emotions are ways to realize one’s true nature. In fact in one of his works, Averill (2002) had subtitled emotional creativity chapter as “Towards spiritualizing emotions.” This also reflects the transformative nature of emotions that is inherent in the concept of emotional creativity and furthers the essence of the Indian perspective that is growth. Averill’s four components of emotional creativity, novelty, effectiveness, authenticity, and preparedness, have deeper implications for a meaningful and spiritually inspired life. Averill (1999b) also reports links between emotional creativity and mysticism, uniting emotional experience with the experience of transcending the material world and the loss of ego-boundaries. Emotional creativity has also been linked to creativity, and emotional creativity requires divergence from the norm. It is also associated with intrinsic motivation and academic engagement in university students (Oriol et al., 2016).

There are different levels and ways of expressing emotional responses creatively. The spectrum begins from merely applying existing emotions in an effective manner, say, expressing anger in a mild and stern voice instead of a physical altercation. A step further would entail becoming a metaphorical potter and, as Averill (1999a) put it, “sculpting” one’s emotions. This process of molding emotions is a reflective one. One must look within and ask what emotion best applies to the present situation, group of people, and context. As mentioned ahead in the section on Gandhi, one example of such a reflective molding was when Gandhi chose to acquiesce to the African Supreme Court’s demand and removed his turban to better be able to fight, as he put it, “bigger battles.” At its highest end of this spectrum would require one to be able to express a new emotion – an emotion that is reflection of a change in one’s belief, an emotion which is consistent with the requirements of the situation, people, and context, and an emotion that responds to routine circumstances in an untraditional way. Emotional creativity is significant as its focus is on authentic and unique (uncommon) ways of experiencing and expressing emotions, in the light of effectively meeting the demands of self and situation (intra- and inter-personal situation) (Gutbezahl & Averill, 1996). Thus, the concept goes beyond an individual’s personal needs and also looks at emotions as a way of serving the society.

Emotion, Motivation, and Action

Emotions have motivational functions and inspire goals and actions. Each emotion motivates actions – from self-preservation (as in fear) to participating (as in the case of happiness) to altruism (as in the case of compassion) to violence (as in anger). Emotional creativity bridges the gap or rather serves as a mediator between emotion and action. Whether the emotion would translate into an impulsive/compulsive reaction or a more thoughtful reflective response depends on emotional creativity. The primary component of emotional creativity is novelty, that is, breaking of the patterns in life, the pattern of our actions or habits that are conditioned and unproductive and make our lives stagnant. Emotional creativity introduces novel ways of instrumentalizing emotions to have a clearer picture of one’s self, of one’s goals, purpose, and values, of the relational and situational context as well as improved understanding of the other.

It is not in dispute then that emotions are flexible and modifiable. Emotions can be shaped by deploying the self authentically. Our body undergoes change every moment, and millions and trillions of cells are replaced and renewed. When the body that we so regard as permanent isn’t the same every day, how can our emotions and emotional response remain the same every time. They undergo renovation too. As with everything, some people are better at molding and renovating their emotions than others. Mohandas Karamchand (Mahatma) Gandhi is one such example of exemplary emotional creativity and authenticity. His life was consistent with the values of simplicity, truth, and non-violence and not pretense, falsehood, and manipulation. He effectively demonstrated that it is possible to be an unwavering seeker of truth, even when operating in contexts that are popularly considered manipulative or based on falsehood, such as lawyer’s profession or being in politics. “For Gandhi, values emanate from the true self. The true self is divine and spiritual, the realization of which leads to right values, which include freedom, love…, altruism, non-violence and adherence to truth” (Rao & Pranjape, 2016, p. 329). Self-transformation through emotions is basic to his philosophy of life, which was evident since his childhood. In the following section, we shall see some episodes from his life (from his autobiography “The Story of My Experiments with Truth,” referred to as MEWT from here on and from some of his teachings as summarized in “The Hind Swaraj,” referred to as HS from here on), which illustrate emotional creativity and the unique ways he adopted to transform himself.

Self-Transformation Through Emotions in Gandhi’s Life: Use of Emotional Creativity

Mohandas Karamchand Gandhi (1869–1948) symbolizes Indian-ness in ways more than one. He is hailed as the Father of the Nation and someone who changed the destiny of India. His life embodied truth and non-violence in all ways. Gandhi as a person stands up for multiple emotions – peace, forgiveness, compassion, love, empathy, respect, devotion, fearlessness, courage, and many more. He lived an authentic life that has inspired millions of people all over the world, including luminaries like Martin Luther King, Albert Einstein, Nelson Mandela, John Lenon, George Bernard Shaw, Khan Abdul Gaffar Khan, and The Dalai Lama among many others. A number of Indian and international movies have been made keeping Gandhi at the center stage. Infact, the 2006 comedy movie “LageRahoMunnaBhai” (Keep at it Munna Brother) showcased interaction of the protagonist (a former gangster) with the soul of Mahatma Gandhi, who used Gandhi’s teachings for society’s welfare. The movie was path-breaking as it popularized “Gandhigiri” (Gandhism) in modern times and was the first Hindi movie to be showcased in the United Nations. In fact, the movie clearly recognized how emotions can be used for societal transformations, bringing home Gandhi’s statement, “My life is my message.”

Gandhi has successfully demonstrated that it is possible to be an unwavering seeker of truth even as a lawyer or a politician or a freedom fighter. Gandhi’s exemplary emotional creativity stems from his unique flexibility, simplicity, and playfulness. He was an experimenter, an explorer throughout his life, and was always open to revise his views and change himself. Tandon and Singh (2013) regard Gandhi’s experiments as his way to cope with life’s problems and his learning from these experiments pivotal for his continuous growth. At the outset of his autobiography, he writes:

certainly like to narrate my experiments in the spiritual field which are known only to myself, and from which I have derived such power as I possess for working in the political field…I claim for them nothing more than does a scientist who, though he conducts his experiments with the utmost accuracy, forethought and minuteness, never claims any finality about his conclusions, but keeps an open mind regarding them. I have gone through deep self-introspection, searched myself through and through, and examined and analysed every psychological situation. Yet I am far from claiming any finality or infallibility about my conclusions (MEWT, 1927, p. x).

Power of Emotional Experiences in Facilitating Self-Growth

Death of a parent is an extremely emotionally arousing situation. Gandhi aged 16 years felt immense shame on his inability to be with his ailing father when he breathed his last, as he was engaged lustfully, at that point in time, with his pregnant wife. He regarded the incident as a lack of self-restraint, which became a hindrance in the exercise of his duties.

The shame…was this of my carnal desire even at the critical hour of my father’s death, which demanded wakeful service. It is a blot I have never been able to efface or forget,…although my devotion to my parents knew no bounds and I would have given up anything for it, yet I was weighed and found unpardonably wanting because my mind was at the same moment in the grip of lust. I have therefore always regarded myself as a lustful, though a faithful, husband. It took me long to get free from the shackles of lust, and I had to pass through many ordeals before I could overcome it. (MEWT, 1927 p. 26)

This incident had a huge impact on his life, as Gandhi later on in his early thirties began practicing celibacy (Brahmacharya) and finally took the vow of celibacy in 1906 with his wife’s consent. The transformation of sexual energy into its spiritual, moral, social, and political counterparts is best exemplified by the life of Gandhi. He wrote, “if I wanted to devote myself to the service of the community in this manner, I must relinquish the desire for children and wealth” (MEWT, 1927 p. 173), which later fructified as Satyagraha. “As though unknown to me, the brahmacharya vow had been preparing me for it. Satyagraha had not been a preconceived plan. It came on spontaneously, without my having willed it. But I could see that all my previous steps had led up to that goal.” (MEWT, 1927 p. 174).

Thus, intense discipline and self-control were the mechanisms that Gandhi used to overcome his passions/emotions and turn them into creative applications (Satyagraha).

Apart from the societal effectiveness of transforming his lustful emotions, Gandhi also experienced greater joy and peace through his self-control. “Brahmacharya was now no process of hard penance, it was a matter of consolation and joy. Every day revealed a fresh beauty in it.” (MEWT, 1927 p. 174). He was also able to transform his emotions of lust into devotion and love for his wife, as well as for the society at large. When brahmacharya is understood as a spiritual science, sublimation can transform human sexuality into a new stream of energy, leading to a non‑violent evolution (Tandon & Singh, 2013, p. S233). He wondered, “Did my faithfulness consist in making my wife the instrument of lust? So long as I was the slave of lust, my faithfulness (towards my wife) was worth nothing.” (MEWT, 1927 p. 172).

The above example indicates the power of emotional experiences in facilitating self-growth. Shame is a self-conscious or moral emotion and like any self-conscious emotion can either harm or develop our sense of self. Though Gandhi was deeply pained and ashamed for his act, the shame made him strongly realize the value and nature of the relationship he shared with his parents. It eventually catalyzed what many regard as the sublimation of sexual energy in him.

Appreciating the Larger Context and Overarching Goal

Understanding the complexity of one’s emotions as well as effectiveness of emotional response carries along appraisal of the context in which they occur. Let us now turn to the turban controversy in Gandhi’s life in South Africa. In one instance at the District Magistrate’s court, he persisted on wearing the turban (Indian headgear) and didn’t want to pocket insult. He wrote about this discriminatory practice and became known in South Africa a few days after arrival. However, another similar instance in the Supreme Court when he was asked to remove his turban he complied with the order. In Gandhi’s words,

The turban that I had insisted on wearing in the District Magistrate’s Court Itook off in obedience to the order of the Supreme Court. Not that, if I had resisted the order, the resistance could not have been justified. But I wanted to reserve my strength for fighting bigger battles. I should not exhaust my skill as a fighter in insisting on retaining my turban. It was worthy of a better cause. (MEWT, 1927 p. 123)

The aforementioned instance in Mahatma Gandhi’s life shows how emotions are not only individual’s feeling states with visceral components and cognitive appraisal but are also influenced by concerns for social wellbeing and fulfilling one’s responsibilities. Even in Indian epic Ramayana, Lord Ram (the hero) says that one’s dharma (loosely defined as one’s duties and responsibilities) is above one’s bhava (feelings). This brings us to one of the central tenets of emotions – the influence of context and culture in shaping emotional experiences and expression. Gandhi’s emotional response to something that was earlier seen as insult, was novel, and establishes the role of reappraisal in emotional experiences. It was very effective in the long run.

An emotionally creative person responds to diverse situations in new ways. Gandhi called this behavior as the “applicability of the principle of looking at a thing from a different standpoint in different circumstances. But all my life though, the very insistence on truthhas taught me to appreciate the beauty of compromise…an essential part of Satyagraha.” (MEWT, 1927 p. 123).

For Gandhi, Truth was the end; non-violence and self-purification the means. The non-violent and self-purification means manifested in diverse ways like peaceful non-cooperation and civil disobedience, satyagraha, fasting, vows (particularly Brahmacharya), swadeshi, and many more.

This ahimsa is the basis of the search for truth...it is quite proper to resist and attack a system, but to resist and attack its author is tantamount to resisting and attacking oneself. For we are all tarred with the same brush, and are children of one and the same Creator, and as such the divine powers within us are infinite. To slight a single human being is to slight those divine powers, and thus to harm not only that being but with him the whole world. (MEWT, 1927 p. 230–231)

Satyagraha: The Force of Love

Gandhi saw unity in all existence and beautifully crafted his mode of resistance, which became internationally known, Satyagraha. Satyagraha campaigns charged the entire nation, brought the masses out of their fear of British rule, affirmed their courage, and was followed by willful arrests of thousands of satyagrahis for defying laws (Nanda, 2000). The satyagrahis happily went to the prison as a symbol of protest. Amidst chaos in the country, factions in the Indian National Congress of which Gandhi was a leader, and rifts between Hindus and Muslims, Gandhi took a three-week fast in 1924 urging people to give up violence and follow the path of non-violence. He led the very successful non-violent protest – Salt Satyagraha (Dandi March) in 1930 against the British imposed salt tax which led to the arrest of over sixty thousand people. He fasted against untouchability while in prison in 1932 that led to an emotional upheaval in the country and became the starting point for Gandhi’s crusade against inequality toward lower castes (Harijan movement). Gandhi, through his personal example of insistence on truth and his simplicity, inspired thousands of people to transform their emotion of fear to courage and non-violently protest against the British. Interestingly empirical studies also reveal that the construct of emotional creativity is positively related with the positive emotions of gratitude, hope, and love, with both authenticity and preparedness being associated with inspiration, pride, and hope. (Oriol et al., 2016, Sharma & Mathur, 2016). Emotional creativity is inherently spiritual, and with rising levels of emotional creativity the focus shifts from the individual to the collective good and eventually the emotion itself is creatively transformed. The success of Satyagraha as a movement shows how insistence on truth with non-violent attitude can actually transform the opponents too. Love has great power!

Reflective Sculpting and Molding of Emotional Expressions

Creativity in emotional expression requires a reflective sculpting and molding of emotions to a more effective form. This process of sculpting requires an inner dialog, a reasoning that cements the change of emotional expression, and even that of the emotion. This very dialog then also becomes the bedrock when a fundamental change occurs in the psyche, creating a new emotional response to a routine circumstance. Gandhi is seen leading such a dialog, beckoning people to mold and sculpt their fundamental response to injustice. When asked what was wrong with using violence to further a just cause by a reader: “Shall I think of the means when I have to deal with a thief in the house? My duty is to drive him out anyhow” (Reader, HS, p.66), Gandhi responds in the following way:

If I want to deprive you of your watch, I shall certainly have to fight for it; if I want to buy your watch, I shall have to pay you for it; and if I want a gift, I shall have to plead for it; and, according to the means I employ, the watch is stolen property, my own property, or a donation. Thus we see three different results from three different means. (HS, p 67–68)

We see Gandhi making a plea for a change in emotional response. The reader is brought into a dialog wherein a critical discourse ensues about whether the nature of a response holds value when the end is just. Gandhi connects with the reader’s emotional expression and tries to build a bridge between the reader’s reasoning and his own in order to encourage emotional sculpting on the part of the former. He then elaborates on the reader’s own analogy:

Now we shall take the example given by you of the thief to be driven out. I do not agree with you that the thief may be driven out by any means. If it is my father who has come to steal I shall use one kind of means. If it is an acquaintance I shall use another; and in the case of a perfect stranger I shall use a third. If it is a white man, you will perhaps say you will use means different from those you will adopt with an Indian thief. If it is a weakling, the means will be different from those to be adopted for dealing with an equal in physical strength; and if the thief is armed from top to toe, I shall simply remain quiet...Whilst you are thus reasoning with yourself, the man comes again to steal. Instead of being angry with him, you take pity on him (HS, p 68–70)

Throughout this exchange, we see Gandhi beautifully illustrating the integration of reason and emotion – that is, the beauty of emotional creativity. In varying contexts, the emotional response and thereby the behavioral response would change. It is important for the individual to view the situation appropriately with a lens that is compassionate and morally responsible.

Gandhi’s commitment to non-violence (Ahimsa) was a very innovative way to fight fear, injustice, and antagonism through love and persistence. It was not a response of timidity as perceived by many. Rather non-violence requires a greater degree of courage, patience, and faith on part of the person. The ahimsa as a weapon to fight with the mighty British crown is a case of emotional creativity.

Two kinds of force can back petitions. ‘We shall hurt you if you do not give this,’ is one kind of force; it is the force of arms…The second kind of force can thus be stated: ‘If you do not concede our demand, we shall be no longer your petitioners. You can govern us only so long as we remain the governed; we shall no longer have any dealings with you.’ The force implied in this may be described as love-force, soul-force or, more popularly but less accurately, passive resistance. This force is indestructible. He who uses it perfectly understands his position…the force of arms is powerless when matched against the force of love or soul. (HS, p. 70–71)

Satyagraha is not a weapon of the weak and not characterized by hatred. It is the power of truth and love that manifest as courage and fearlessness. Gandhi through his unique ways changed the narrative of fighting against injustice. The force of love or the force of soul, which he called Satyagraha rewrote the ways resistance or conflict is looked at for centuries to come. Describing non-violence, Gandhi said that the means toward it is self-purification.

But the means thereof is self-purification and more self-purification. What Western thinkers often lose sight of is that the fundamental condition of non-violence is love, and pure unselfish love is impossible without unsullied purity of mind and body. (HS, p. 5)

Another example of Gandhi employing an emotionally creative response was in his practice of criticizing the policy but loving the policy maker. While Gandhi was well aware that one could respond to oppression by attacking the oppressor and that such a protest would be just in its own right, he responded to such forms of protest with this novel insight:

It is quite proper to resist and attack a system, but to resist and attack its author is tantamount to resisting and attacking oneself. For we are all tarred with the same brush, and are children of one and the same Creator… (MEWT, 1927 p. 230)

In a world that was unjust and at the hand of oppressors who were unkind, Gandhi was able to maintain a distinction between the levers of social injustice and the men that enforced them:

Man and his deed are two distinct things. (MEWT, 1927 p. 230)

This distinction coupled with the value of ahimsa made it possible for him to respond with love, forgiveness, dignity, and respect even toward proponents of injustice. In another such instance, Gandhi when kicked and pushed off a footpath by a patrol guard, forgave his transgressor. Even when offered a chance at justice, Gandhi refused to pursue the matter or file a complaint against the man. He did, however, stop going through that street. Gandhi reasoned, “There would be other men coming in this man’s place and, ignorant of the incident, they would behave likewise. Why should I unnecessarily court another kick?” (MEWT, 1927 p. 109). A more traditional response to being kicked would be to aggress against it, but Gandhi was a practitioner of ahimsa, so that was out of question. But practicing non-violence doesn’t make one immune toward feeling dismayed, which he admitted to feeling. What was creative about his emotional response was expressing his dismay in a way which ensured that he would not be subjected to anymore humiliation, while at the same time not penalizing the transgressor.

Gandhi directed his emotions in such challenging situations to the problem (like the issue of discrimination), rather than people, and was able to deflect many unnecessary ego conflicts or painful experiences. Thus, his response was effective in the long run, not just for himself but others too.

Emotional creativity is not innate, and while some of us are endowed with more of it, all of us need to hone it and practice it. This then raises the possibility of slipping back into a cycle of emotional responses that are not creative. How does one ensure that the novelty, authenticity, and effectiveness of emotions are maintained? How does one ensure that one does not slip back into old patterns? One such way for Gandhi was confession and accepting his mistakes openly. Gandhi acknowledged his weaknesses, mistakes, and faults, thereby preventing himself from slipping back to old ways of doing things. Confession also facilitated his authenticity.

But I have never regretted having made that confession. For I have always held that it is only when one sees one’s own mistakes with a convex lens, and does just the reverse in the case of others, that one is able to arrive at a just relative estimate of the two. I further believe that a scrupulous and conscientious observance of this rule is necessary for one who wants to be a Satyagrahi. (MEWT, 1927 p. 391)

Another way is Gandhi’s emphasis on Vows and living a life of discipline.

The importance of vows grew upon me more clearly than ever before. I realized that a vow, far from closing the door to real freedom, opened it. ... I realized that in refusing to take a vow man was drawn into temptation (MEWT, 1927 p. 173 )

Vows, according to Gandhian philosophy, abet our determination toward our goals and control the distractions. They also streamline our consciousness to a single point of focus. Gandhi propounded 11 vows: Satya or Truth, Ahimsa or Nonviolence, Brahmacharya or Celibacy, Asteya or Non-stealing, Aparigraha or Asangraha or Non-possession, Sharira-Shrama or Physical Labour, Asvada or Control of Palate, Abhaya or Fearlessness, Sarva-Dharma-Samanatva or Equal respect for all Religions, Swadeshi or Using locally made goods, and Sparshbhavana or Removal of Untouchability. These 11 vows worked as emotional fencing, assuring that Gandhi’s responses were rooted in his values and that he never strayed back to an older pattern of responses. Another example from his life shows how he used fasting as a penance when two of the ashram inmates in South Africa had what Gandhi calls a moral fall.

During the journey my duty seemed clear to me. I felt that the guardian or teacher was responsible, to some extent at least, for the lapse of his ward or pupil felt that the only way the guilty parties could be made to realize my distress and the depth of their own fall would be for me to do some penance. So I imposed upon myself a fast for seven days and a vow to have only one meal a day for a period of four months and a half ...I felt greatly relieved...the anger against the guilty parties subsided and gave place to the purest pity for them ...My penance pained everybody, but it cleared the atmosphere. Everyone came to realize what a terrible thing it was to be sinful, and the bond that bound me to the boys and girls became stronger and truer. (MEWT, 1927 p. 286)

The above incidence also shows that not only did Gandhi himself embody emotional creativity and respond to an onslaught of injustice in a way that caused a nationwide momentum toward freedom, but he also sought to pass it on to his followers. By coordinating emotions of the people he led and fostering emotional engagement at a mass level, Gandhi tried to disseminate the discipline and internal change that accompanied his novel approach. He sought to train Satyagrahis and nurture a mass of disciplined practitioners who had internalized non-violence and satyagraha, which were the root of his novel emotional response. Following the Himalayan miscalculation, wherein a small district in Gujarat (Kheda) that engaged in civil disobedience experienced immense backlash in the form of multiple arrests, Gandhi came to the following realization, “I realized that before a people could be fit for offering civil disobedience, they should thoroughly understand its deeper implications... it would be necessary to create a band of well-tried, pure-hearted volunteers who thoroughly understood the strict conditions of Satyagraha. They could explain these to the people, and by sleepless vigilance keep them on the right path.” (MEWT, 1927 p. 392).

He was attempting to foster the same discipline and internal change that had led him to adopt a doctrine of non-violence, in his supporters. He furthered this education through the written word, circulating through local publications:

Through these journals I now commenced to the best of my ability the work of educating the reading public in Satyagraha... they enabled me freely to ventilate my views and to put heart into the people. (MEWT, 1927 p. 395)

He used these ways not just for a social cause but also for personal growth. The above incidences establish how Gandhi used his “self” as a tool to regulate and transcend certain emotions and feelings. He used emotions creatively to attain his goal of “Sarvodaya” – wellbeing of all. Gandhi lived an authentic life, as all his life he was striving for truth with non-violence, love, and self-purification. Gandhi’s various experiments in life demonstrate his courage and aspiration to seek truth and self-purification in whatever he did (Sharad & Misra, 2013, p. 376). Gandhi was a leader of the masses, and he required creativity of a different order that could be applied in social and political context. Kakar (2013) says Gandhi’s spirituality and spiritual grace inspired people to regard Gandhi’s inner voice as their own (p. 355).

Drawing learnings from Gandhi’s authentic life, Sharad and Misra (2013) have summarized his authentic life in three superordinate themes – self-transformation, living life in shared spaces, context-sensitivity, and flexibility. This is precisely also the reason why Gandhi is an exemplar of emotional creativity – he transformed himself toward becoming more true and authentic, through his openness to learning, to experiment and through his flexibility and inspired a collective vision. Gandhi stood for transformation and growth. His life teaches us “the gospel of love in place of that of hate,” replacing violence with self-sacrifice, pitting soul force against brute force (Gandhi, 1921, HS, p. 13). Thus, we see how in Gandhi’s life self-renewal and change was a constant and needs to be an important component of emotional creativity too.

Concluding Remarks

After reviewing the life and approaches of Gandhi, it would be relevant to revisit how his life demonstrated emotional creativity. Gandhi experienced emotions of empathy, compassion, “rising beyond hate,” patience and perseverance, courage, fearlessness, and love that inspired his unique non-violent philosophy. He was able to transform himself from experiencing fear, guilt, and intense lust in formative years to experiencing fearlessness, courage, self-restraint, and selfless love. The effectiveness of these emotional responses can be gauged from the success of the mass movements in India led by him, including Satyagraha, non-cooperation movement, Swadeshi movement, Dandi march, Quit India movement, and many more. All his actions derived their authenticity from the two core values that he was committed to throughout his life – that of non-violence and truth. In many ways, he was a non-conformist who also recognized the beauty of a compromise. He absorbed learning from all counters – from books like Bhagavad Gita, inspirational life stories like Harishchnadra and Shravan Kumar and from his own life experiences (including mistakes). His life was governed by the spirit of discipline and control which required consistent efforts. With the clear vision of servicing the mankind, Gandhi’s demonstrated appreciation of the wider context and awareness of the overarching goals. He never let any circumstance or situation, no matter how threatening to his ego, overpower his vision for greater common good. The sheer force of love – love for community, love for one’s nation, and even love for one’s enemy helped him rise beyond the limitations of the ego. Several instances in Gandhi’s life show how he forgave his opponents and even those who inflicted harm on him.

Gandhi was not an extraordinary man. He was an ordinary man who transformed himself and made himself extraordinary. This is a major takeaway from his life. Each one of us can make efforts to look within and enter into a dialog with one’s self and one’s emotions. That would enable novelty in emotional experiences, rather that impulsively reacting. The inner dialog also facilitates taking into consideration the context and larger goals. For example, if one is feeling intense hatred or anger, a reflective inner gaze or introspection would help one to detach from the emotional identification, rather than get consumed by it. This detachment would create a space for inner dialog, to appraise the effect of one’s reactive behavior on others and on one’s own self. Appreciating larger life goals or purpose help in emotional sculpting and transforming emotions. “Is my hatred or anger going to help me become the kind of person I want to be?” “What would be the impact of my angry behavior on the other person?” “Does it resonate with my deeply held values or is it just momentary?” Such awareness, inner dialogs, and reflections would help the individual become more morally responsible and less ego-centric. Gandhi’s life establishes that with practice and efforts, with discipline and self-control, it is possible to become more emotionally creative.

Kakar calls Gandhi a practical spiritualist who “combines sublime fearlessness with robust humor, who is filled with a serenity that comes from an unconcern with the consequences once the decision has been taken, who us infused with a wide ranging empathy that even extends to his opponents” (Kakar, 2013, p. 356). Thus, Gandhi used novel methods, self-purification, and authenticity to not just transform himself, but the whole world, and was highly effective. Gandhi has been regarded as a pragmatic genius, who synthesized the “actual” and “ideal” into “practical” (Rao & Paranjpe, 2016). He moved beyond the pleasure one seeks in fulfilling one’s desires, to a greater joy that service to mankind offers. Our lives are saturated with stories of what went wrong and how it can be corrected. Gandhi offers an alternate story – that of what goes right when something goes wrong and how to leverage it for one’s growth.