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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

Dengan itu para Pitṛ menjadi puas, demikian juga para dewa bersama rombongan para muni; dan dengan itu orang yang berpegang pada dharma mengetahui yang telah berlaku, yang akan datang, dan yang sedang berlangsung.

tenaby that (truth/equanimity)
tena:
Karaṇa (करण)
TypeNoun
Roottad (प्रातिपदिक)
FormPronoun (सर्वनाम), Instrumental (3rd/तृतीया), Singular (एकवचन)
atṛpyantawere satisfied
atṛpyanta:
Kriyā (क्रिया)
TypeVerb
Roottṛp (धातु)
FormImperfect (लङ्), 3rd person (प्रथमपुरुष), Plural (बहुवचन), Ātmanepada (आत्मनेपद)
pitaraḥthe ancestors
pitaraḥ:
Karta (कर्ता)
TypeNoun
Rootpitṛ (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Plural (बहुवचन)
devāḥthe gods
devāḥ:
Karta (कर्ता)
TypeNoun
Rootdeva (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Plural (बहुवचन)
muni-gaṇaiḥwith groups of sages
muni-gaṇaiḥ:
Sahakāraka (सहकारक)
TypeNoun
Rootmuni (प्रातिपदिक) + gaṇa (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Instrumental (3rd/तृतीया), Plural (बहुवचन); समासः षष्ठी-तत्पुरुषः (मुनीनां गणैः)
sahatogether with
saha:
Sahakāraka (सहकारक)
TypeIndeclinable
Rootsaha (अव्यय-प्रातिपदिक)
FormAvyaya (अव्यय), preposition-like indeclinable meaning 'with' (सह)
bhūta-bhavyapast and future
bhūta-bhavya:
Karma (कर्म)
TypeNoun
Rootbhūta (प्रातिपदिक) + bhavya (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग) as collective, Accusative (2nd/द्वितीया), Singular (एकवचन); समासः इतरेतर-द्वन्द्वः (भूतं च भव्यं च)
pravṛttamwhat has occurred / what is set in motion
pravṛttam:
Karma (कर्म)
TypeVerb
Rootpra√vṛt (धातु)
FormPast passive participle (क्त/कृत्), Neuter (नपुंसकलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन)
caand
ca:
Samuccaya (समुच्चय)
TypeIndeclinable
Rootca (अव्यय)
FormAvyaya (अव्यय), conjunction (समुच्चय)
tenaby that
tena:
Karaṇa (करण)
TypeNoun
Roottad (प्रातिपदिक)
FormPronoun (सर्वनाम), Instrumental (3rd/तृतीया), Singular (एकवचन)
jānātiknows
jānāti:
Kriyā (क्रिया)
TypeVerb
Rootjñā (धातु)
FormPresent (लट्), 3rd person (प्रथमपुरुष), Singular (एकवचन), Parasmaipada (परस्मैपद)
dhārmikaḥthe righteous person
dhārmikaḥ:
Karta (कर्ता)
TypeNoun
Rootdhārmika (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Singular (एकवचन)

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).

P
Pitṛs (ancestors)
D
Devas (gods)
M
Munigaṇa (hosts of sages)

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.