Agam Deep 13 Raippaseniyam Gujarati Anuvaad - Book Summary

This comprehensive summary is based on the provided Gujarati text, which appears to be a Gujarati translation (Anuvaad) with a commentary (Chhaya) in Gujarati by Muni Dipratna Sagar of the Jain text "Raippaseniyam," also known as "Rishabhacharya" or "Rishabhdas," which is an Upanga Agama in the Jain canon. The overall publication is titled "Agam Deep 13 Raippaseniyam Gujarati Anuvaad" and was published by Agam Shrut Prakashan.

Here's a breakdown of the key elements and content:

1. Publication Details:

Book Title: Agam Deep 13 Raippaseniyam Gujarati Anuvaad (આગમ દીપ ૧૩ રાયપસેણીયમ ગુજરાત અનુવાદ)
Author: Dipratnasagar, Deepratnasagar (દીપરાત્નસાગર, દીપરાત્નસાગર)
Publisher: Agam Shrut Prakashan (આગમ શ્રુત પ્રકાશન)
Commentary (Chhaya): Jyotishacharya Raj Shri Jayprabhvijayji 'Shraman Shri Mohan Khedda Tirth' (જ્યોતિષાચાર્ય રાજ શ્રી જયપ્રભવિજયજી 'શ્રમણ શ્રી મોહનખેડા તીર્થ')
Gujarati Translator/Commentator: Muni Dipratna Sagar (મુનિ દીપરાત્નસાગર)
Price: Rs. 2000/ (For the Agam Deep - Gujarati Chhaya set)
Publication Date Mentioned: 31/3/1997 (Vikram Samvat 2053, Fagan Vad 7)

2. Core Text and its Structure:

The text focuses on the Raippaseniyam (Raypaseniyam/Rishabhdas) Sutra, which is an Upanga Agama. The publication seems to be part of a larger series called "Agam Deep" (આગમ દીપ), which aims to provide explanations and translations of the Jain Agamas. The provided pages indicate that this specific volume deals with the second Upanga, the Raippaseniyam.

3. Content Overview and Key Narrative Elements:

The bulk of the provided text (pages 11-58) is a detailed narrative derived from the Raippaseniyam Sutra, recounting a story involving:

Lord Mahavir: The narrative begins with Lord Mahavir being present in the Ambashalavan Chaitya outside the city of Amalakaappa.
King Shrenik and Queen Dharini: They are mentioned as the rulers of Amalakaappa, and the text notes that details of their reign are to be understood according to the Uvavaiya Sutra.
Surabhdev (Suyabhdev): A significant portion of the text describes Surabhdev, a deity residing in the Surabh-viman (Surabh-vimana) in the Saudharmakalpa heaven.
- Divine Majesty: Surabhdev is depicted with immense grandeur, surrounded by thousands of attendants, his queens, armies, and celestial instruments. He is shown enjoying divine pleasures.
- Vision of Lord Mahavir: Surabhdev, while observing the Jambu-dvipa, notices Lord Mahavir in Amalakaappa and is filled with immense joy and devotion.
- Devotion and Respect: Surabhdev, overwhelmed by this vision, immediately prepares to visit Lord Mahavir.
- Preparation of the Divine Chariot (Yaan Viman): A significant part details the elaborate creation of a magnificent aerial vehicle (Yaan Viman) by Surabhdev's attendant deities. This includes descriptions of its construction with precious metals, jewels, intricate carvings of various creatures and deities, musical instruments, and dazzling decorations.
- Journey to Lord Mahavir: Surabhdev, along with his retinue, travels in the divine chariot to the Ambashalavan Chaitya.
- Presentation of Divine Arts: Upon arriving, Surabhdev requests permission to display his divine arts, which includes 32 types of celestial performances (dance, music, drama) presented by male and female celestial beings. These performances are described in great detail, depicting various scenes and themes.
- Lord Mahavir's Response and Silence: Lord Mahavir remains silent in response to Surabhdev's initial requests.
- Surabhdev's Inquiry about his Destiny: Surabhdev asks Lord Mahavir about his spiritual state (whether he is 'bhavya' or 'abhavya', 'samyag-drishti' or 'mithya-drishti', etc.) and receives affirmative answers, indicating his favorable spiritual progress.
- Request to Teach Raja Peshi: Surabhdev expresses his desire for Lord Mahavir to impart religious teachings to Raja Peshi, who is described as an irreligious and cruel king.
- Lord Mahavir's Explanation of Why He Cannot Teach Raja Peshi Directly: Lord Mahavir explains that he cannot directly teach Peshi because Peshi does not show respect or deference to ascetics and Brahmins, nor does he inquire about Dharma.
- The Story of Chitta Sarathi and Muni Keshi: The narrative then shifts to the story of Chitta, a charioteer and minister to Raja Peshi. Chitta, through his encounter with Muni Keshi (a disciple of Parshvanath, or a disciple of the tradition associated with Parsva), becomes a follower of Jainism, accepting lay vows. This section includes a detailed philosophical discussion between Raja Peshi and Muni Keshi on the nature of the soul and body, using various analogies (e.g., the iron ball in the furnace, the sealed room with the drum, the unyielding man with the iron bar, the scales weighing a live vs. dead body, the fire inside wood, the elephant and the goad, the miserly man). This debate highlights the Jain doctrine of the distinctness of soul and body.
- Raja Peshi's Transformation: Raja Peshi, influenced by Chitta and Muni Keshi's teachings, eventually renounces his irreligious ways, accepts the principles of Dharma, and leads his kingdom in a more righteous manner. He also undergoes a transformation, accepting vows and contributing to the welfare of the ascetics.
- Surabhdev's Past Life and Birth: The story then returns to Surabhdev, explaining that he was once Raja Peshi in his past life. Due to his righteous actions after encountering Muni Keshi, and possibly other past merits, he attained his current celestial status as Surabhdev. His lifespan and future rebirth as a soul destined for liberation (moksha) in Mahavideh Kshetra are also mentioned.

4. Philosophical and Doctrinal Content:

The Nature of Soul and Body: A significant portion is dedicated to a detailed philosophical discourse by Muni Keshi, explaining the Jain view that the soul (Jiva) and the body (Sharira) are distinct entities. The king's counterarguments, based on worldly observations, are systematically refuted through analogies.
The Paths to Liberation: The story of Peshi's transformation and Surabhdev's celestial existence implicitly highlight the importance of righteous conduct, association with the virtuous (ascetics), acceptance of vows, and the ultimate goal of attaining liberation.
The Six Substances (Dravyas) and Their Realities: The philosophical discussions touch upon the Jain understanding of realities, such as soul, body, karma, and the distinction between eternal and non-eternal aspects.
The Importance of Respect for Ascetics: The narrative strongly emphasizes the need to respect and serve ascetics and holy persons for spiritual progress.
The Nature of Divine Realms and Beings: The description of Surabhdev's abode and his interactions provides insights into the Jain cosmology regarding celestial beings and their abodes.

5. Structural and Stylistic Features:

Narrative Approach: The text uses a narrative storytelling method to convey the teachings, which makes it engaging and accessible.
Detailed Descriptions: The descriptions of Surabhdev's palace, the divine chariot, the celestial performances, and the various settings are highly elaborate.
Gujarati Language: The entire text is presented in Gujarati, making it accessible to Gujarati-speaking Jain followers.
Use of Analogies: The philosophical arguments are supported by numerous analogies from everyday life, making complex concepts easier to grasp.
Inclusion of Previous Agamas/Texts: References to other Jain texts like Uvavaiya Sutra suggest that this commentary might place the Raippaseniyam within the broader context of the Jain canon.

In essence, "Agam Deep 13 Raippaseniyam Gujarati Anuvaad" is a scholarly and devotional work that aims to elucidate the Raippaseniyam Sutra through a detailed Gujarati commentary. It presents a rich narrative that interweaves the celestial experiences of Surabhdev with the philosophical teachings on the soul, body, and the path to spiritual upliftment, all framed within the context of Jain philosophy and practice. The comprehensive description of divine realms and human interactions underscores the Jain emphasis on righteous conduct, the consequences of actions, and the ultimate pursuit of liberation.