Pudgal Paryavekshan

Here is a comprehensive summary of the Jain text "Pudgal Paryavekshan" by Rameshmuni, based on the provided PDF excerpt:

Book Title: Pudgal Paryavekshan (An Observation of Pudgala) Author: Rameshmuni (Disciple of Upadhyay Shri Pushkar Muni Ji M.) Publisher: Z_Mahasati_Dway_Smruti_Granth_012025.pdf

This extensive treatise delves into the nature and characteristics of Pudgala, one of the fundamental substances (dravyas) in Jain philosophy. It begins by establishing Jainism's esteemed position in the world of philosophy, highlighting its spiritual focus, completeness, systematic approach, and scientific grounding. The author emphasizes that true philosophical understanding stems from profound spiritual experiences and the unveiling of reality through divine sight.

Core Jain Ontological Framework:

The text first outlines the six fundamental dravyas (substances) recognized in Jainism:

1. Dharmastikaya (Substance of Medium of Motion)
2. Adharmastikaya (Substance of Medium of Rest)
3. Akashastikaya (Substance of Space)
4. Jivastikaya (Substance of Soul/Life)
5. Pudgalastikaya (Substance of Matter)
6. Kala (Time)

It defines a dravya as something that is eternally existent (sat) and possesses both guna (attributes) and paryaya (modes/modifications). Sat is that which exists, and even the non-existent (asat) can be considered existent in its non-existent form, as absolute non-existence is inconceivable. Gunas are the inherent, unchanging attributes of a substance, while paryayas are its transient modifications. A dravya is characterized by its creation (utpad), destruction (vyay), and permanence (dhrauvya).

Jiva and Ajiva Classification:

The six substances are further categorized into two primary divisions:

• Jiva (Soul): Only the Jivastikaya is Jiva.
• Ajiva (Non-soul): The remaining five substances (Dharmastikaya, Adharmastikaya, Akashastikaya, Pudgalastikaya, and Kala) are Ajiva.

A further classification is made between roopi (corporeal/formed) and arupi (incorporeal/formless). Roopi substances possess color (varna), smell (gandha), taste (rasa), and touch (sparsha), and are subject to decay. Pudgalastikaya is identified as the sole roopi substance.

The Nature of Pudgala:

• Etymology and Definition: The term "Pudgala" is derived from "Pud" (to accumulate/join) and "Gal" (to decay/separate). Thus, Pudgala is that which constantly comes together and separates, forms and dissolves, breaks and joins. It is the only dravya that can be divided.

• Sensory Attributes: Pudgala is characterized by possessing the four essential attributes: sparsha (touch), rasa (taste), gandha (smell), and varna (color). These attributes, while fundamentally few, have numerous variations, making them almost innumerable.

• Physicality (Roopi/Murt): Pudgala is defined as roopi (having form) or murt (corporeal). While "murt" is often associated with being visible to the naked eye, the text clarifies that this is not entirely accurate. Even the most subtle aggregate of pudgala atoms (vyavahar paramanu) is imperceptible to the senses. The fundamental form of pudgala is the paramanu (atom).

• Attributes (Gunas):

  • Touch (Sparsha): Eight types: snigdha (oily/smooth), ruksha (dry/rough), mrudu (soft), kathor (hard), sheeta (cold), ushna (hot), laghu (light), and guru (heavy).
  • Taste (Rasa): Five types: madhura (sweet), amla (sour), katu (pungent), tikta (bitter), and kashayla (astringent).
  • Smell (Gandha): Two types: surabhi (fragrant) and durabhi (malodorous).
  • Color (Varna): Five types: krishna (black), rakta (red), pita (yellow), shveta (white), and neela (blue).

• Uniqueness: The four attributes (touch, taste, smell, color) are exclusive characteristics of pudgala and are not found in any other dravya.

• Examples of Pudgala: The text uses examples like gold and wood to illustrate the concept of pudgala undergoing modifications while its fundamental substance remains. The king's indifference to the gold pot being reshaped into a crown exemplifies the dravya's inherent permanence amidst changes in its paryaya. Similarly, wood turning into ash illustrates the transformation of one pudgala paryaya into another, while the underlying substance persists.

• Result and Permanence: Pudgala is a product of constant transformation (parinaman). While its modes change, its fundamental nature (swaroop) remains constant and eternal. This fundamental nature is its maulikata (originality), which is not lost. For instance, an unripe mango is green and sour, but when ripe, it becomes yellow and sweet, yet it never loses its color or taste altogether. The quantity of pudgala atoms in the universe is believed to be constant, unchanging over time.

• Form (Roop): Roop in the context of pudgala refers to its nature or constitution. Any form of pudgala, whether large or small, visible or invisible, inherently possesses the four attributes of touch, taste, smell, and color. If even one of these attributes is present, the others are present in a manifest or unmanifest form.

• Activity and Power: Pudgala is active and possesses immense power. Its movement is called parispaandan. This motion can be inherent or induced by other pudgala or jiva substances. A paramanu can move through solid objects like diamond and mountains without obstruction. It can traverse the entire universe in the smallest fraction of time.

• Locality and Space: Pudgala exists within the loka (universe), not outside it. Despite the universe having infinite space-points (pradeshas), pudgala is infinitely divisible. The paradox of infinite pudgala fitting into infinite space-points is explained by the subtle transformational and containment (avagahana) powers of paramanus and skandhas, allowing countless particles to reside within a single space-point.

• Interaction with Jiva: Pudgala combines with Jiva in two ways:

  1. Anadi (Beginningless): This is the inherent, eternal association of pudgala with all jiva from time immemorial.
  2. Sadi (With Beginning): This is the continuous, moment-to-moment interaction that occurs between jiva and pudgala, which also ceases upon liberation. This interaction is the basis of karma.

• Karma and Causality: The interaction between jiva and pudgala leads to the creation of the nine tattvas (realities) in Jainism. Ashrava (influx) is the cause of this union, stemming from the jiva's deluded modifications of mind, speech, and body, driven by passions like attachment and aversion. This influx leads to bandha (bondage), where karmic pudgala particles attach to the jiva. Kashaya (passions - anger, pride, deceit, greed) is identified as the primary cause of karmic bondage.

• Samvara and Nirjara:

  • Samvara (cessation of influx) is the stopping of new karmic matter from entering the jiva, achieved through spiritual discipline.
  • Nirjara (shedding of karma) is the process of gradually removing accumulated karma, primarily through austerities (tapas). This can be vipaka-ja (karma ripening naturally) or avipaka-ja (karma removed through deliberate effort).

• Moksha (Liberation): The ultimate goal is moksha, which is complete freedom from all karmic bondage, leading to the realization of the jiva's pure, inherent nature of infinite knowledge, perception, bliss, and energy. The path to moksha is described as the conjunction of right faith (samyak darshan), right knowledge (samyak jnana), and right conduct (samyak charitra).

Classifications of Pudgala:

The text presents various classifications of pudgala:

1. Fundamental Division:

   • Paramanu: The indivisible, subtlest atom.
   • Skandha: Aggregates of paramanus.

2. Atom (Paramanu):

   • Subtle Atom: The truly indivisible atom.
   • Practical Atom: An aggregate of subtle atoms that, while still extremely subtle, is considered a practical unit.
   • Paramanus are considered to possess the potential for color, smell, taste, and touch, which manifest depending on the surrounding conditions.
   • Categorization of Atoms: Atoms can be classified into four types based on:
     • Dravya (Substance): Pudgala atom itself.
     • Kshetra (Space): Occupies an akasha pradesha.
     • Kala (Time): Exists for a duration.
     • Bhava (Mode/Quality): Possesses attributes.

3. Aggregates (Skandha):

   • Definition: An aggregate of two or more atoms.
   • Types: Skandhas are categorized into three classes. Any part or fragment of a skandha that remains connected to the whole is a skandha desha (part of a skandha). An atom within a skandha that is not detached from the whole is a skandha pradesha.
   • Perceptibility: Skandhas are generally perceptible, but can be imperceptible in their subtle states.
   • Spatio-temporal Existence: Skandhas are sapradseshi (having more than one space-point) or apradseshi (occupying a single space-point), and similarly for time.
   • Qualitative States: Skandhas can be ekaguni (having one attribute) or anantaguni (having infinite attributes).

4. Transformational States (Parinaman): Pudgala undergoes transformations, which can be classified as:

   • Prayoga-parinata: Transformations caused by interaction with Jiva.
   • Visrasa-parinata: Transformations that occur spontaneously.
   • Mishra-parinata: Transformations that occur both spontaneously and through interaction with Jiva.

5. Broad Classifications based on Grossness/Subtlety:

   • Sthula-Sthula (Gross-Gross): Solids like wood, stone.
   • Sthula (Gross): Liquids like water, oil.
   • Sthula-Sukshma (Gross-Subtle): Light, shadow, darkness.
   • Sukshma-Sthula (Subtle-Gross): Perceptible by other senses but not sight.
   • Sukshma (Subtle): Karmic atoms (karmic varganas).
   • Sukshma-Sukshma (Subtle-Subtle): Even finer than karmic atoms.

6. Vargas (Categories of Pudgala): There are 23 types of pudgala classified as vargas or categories. Eight main categories are described:

   • Audarika vargana: Matter forming physical bodies (earth, water, fire, air, plants, mobile beings).
   • Vaikriya vargana: Matter enabling changes in form and size.
   • Aharaka vargana: Matter related to yogic powers.
   • Taijasa vargana: Luminous matter (like electricity).
   • Karmana vargana: Karmic matter.
   • Shwasochhwas vargana: Matter for respiration.
   • Bhasha vargana: Matter for speech.
   • Mano vargana: Matter for thought. The first four are gross, eight-sensed aggregates. The last three (Karma, Speech, Mind) are subtle, four-sensed aggregates. Respiration can be either.

Manifestations of Pudgala (Paryayas):

The text then details ten principal manifestations or functions of pudgala:

1. Shabda (Sound): Originates from the collision or separation of skandhas. Sound is classified as linguistic (human/animal speech) and non-linguistic (natural sounds, musical instruments).
2. Bandha (Bondage/Union): The process of atoms and skandhas joining together, including the bondage of karmic matter to the soul. The text discusses the causes and processes of bonding, emphasizing the role of snigdha (smooth) and ruksha (rough) qualities.
3. Sukshma (Subtlety): Related to smallness.
4. Sthula (Grossness): Related to largeness.
5. Samsthana (Form/Structure): Specific shapes and arrangements.
6. Bheda (Separation/Division): The breaking apart of skandhas.
7. Tam (Darkness): Hinders vision.
8. Chhaya (Shadow): Caused by light being obstructed.
9. Aatapa (Solar Heat/Light): Heat and light from the sun.
10. Udyota (Cool Light): Light from the moon, fireflies.

In essence, the book provides a detailed, systematic analysis of Pudgala within the Jain philosophical framework, highlighting its multifaceted nature, its role in the universe and the cycle of karma, and its ultimate transformation towards liberation. The author acknowledges the vastness of the subject and presents this as an introductory overview.