Shloka 90
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
तेनातृप्यंत पितरो देवा मुनिगणैः सह । भूतभव्य प्रवृत्तं च तेन जानाति धार्मिकः
tenātṛpyaṃta pitaro devā munigaṇaiḥ saha | bhūtabhavya pravṛttaṃ ca tena jānāti dhārmikaḥ
Dadurch werden die Pitṛs, die Ahnen, gesättigt, ebenso die Devas samt den Scharen der Weisen; und dadurch erkennt der Rechtschaffene das Vergangene, das Zukünftige und das, was sich jetzt entfaltet.
Unspecified in the provided excerpt (context needed from Adhyāya 50 narrative frame).
Concept: A single dharmic act can harmonize the three recipient orders—Pitṛs, Devas, and Ṛṣis—and grants the practitioner a discerning insight into time (past, future, and present unfolding).
Application: Maintain regular ancestral gratitude (tarpaṇa/śrāddha in season), daily offerings (water, food, charity), and truthful living; treat these as a single integrated practice rather than separate obligations.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A serene householder performs a simple water-offering at dawn, palms cupped over a lotus-filled vessel. In the subtle sky above, translucent forms of Pitṛs, Devas, and Ṛṣis receive the offering as ripples of light, while a faint wheel of time (past-future-present) turns behind them, suggesting awakened discernment.","primary_figures":["a dhārmika householder","Pitṛs (ancestral spirits)","Devas","Ṛṣis"],"setting":"riverbank ghat with a small altar, kusa grass, copper lota, and lotus blossoms; distant temple spire and banyan tree","lighting_mood":"golden dawn","color_palette":["saffron gold","river-silver","lotus pink","copper bronze","deep indigo"],"tanjore_prompt":"Tanjore painting style: a dawn riverbank tarpaṇa scene with the dhārmika devotee in traditional attire, copper vessels and lotus motifs; Pitṛs, Devas, and Ṛṣis appear in tiered halos above, rendered with gold leaf radiance, gem-studded ornaments, rich vermilion and emerald accents, and a subtle time-wheel behind them; ornate arch frame and temple lamp details.","pahari_prompt":"Pahari miniature style: delicate riverbank ritual at sunrise, fine linework on the devotee’s hands pouring water, translucent ancestral and divine figures in the sky; cool Himalayan-like distance haze, lyrical banyan and peepal foliage, refined faces, soft gradients of dawn, and a small shrine on the ghat steps.","kerala_mural_prompt":"Kerala mural style: bold outlined figures of Devas and Ṛṣis in the upper register receiving luminous streams from the devotee below; natural pigment palette with dominant reds, yellows, greens; stylized lotus and river waves; temple-wall composition with symmetrical framing and large expressive eyes.","pichwai_prompt":"Pichwai cloth painting style: riverbank offering scene framed by intricate floral borders and lotus creepers; celestial recipients arranged like a mandala above; deep blue background with gold highlights, peacocks near the water, and decorative motifs suggesting the three worlds being sustained."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["flowing water","soft temple bells","morning birds","conch shell (distant)","brief silence between pādas"]}
Sandhi Resolution Notes: tenātṛpyaṃta → tena atṛpyanta; munigaṇaiḥ is a compound muni-gaṇaiḥ; bhūtabhavya → bhūta-bhavya (dvandva).
FAQs
It states that a particular dharmic practice (implied by “tena,” i.e., ‘by that means’) gratifies the ancestors, the gods, and the hosts of sages—indicating a single righteous act can serve multiple sacred obligations.
It claims that through the same dharmic means, a righteous person gains discernment of what has been, what will be, and what is currently unfolding—linking ethical-sacral practice with heightened understanding or insight.
It emphasizes integrated responsibility: honoring ancestors, gods, and sages is presented as part of dharma, and such alignment with dharma is portrayed as leading to inner clarity and wisdom.