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
اسی کے ذریعے پِتر تَسکین پاتے ہیں، اور رِشیوں کے گروہوں سمیت دیوتا بھی؛ اور اسی سے دھرم پر قائم شخص ماضی، مستقبل اور جو کچھ جاری ہے اسے جان لیتا ہے۔
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.