The Saptarishis Seek Uma for Shiva: Himavan Grants the Marriage
तत् किमर्थमपास्यैतानलङ्काराञ् जटा धृताः चीनांशुकं परित्यज्य किं त्वं वल्कलधारिणी
tat kimarthamapāsyaitānalaṅkārāñ jaṭā dhṛtāḥ cīnāṃśukaṃ parityajya kiṃ tvaṃ valkaladhāriṇī
ດັ່ງນັ້ນ ເປັນຫຍັງຈຶ່ງລະທິ້ງເຄື່ອງປະດັບເຫຼົ່ານີ້ ແລ້ວຖືກຈັດຜົມເປັນຈະຕາ (ຜົມກອງ)? ເປັນຫຍັງຈຶ່ງລະທິ້ງເສື້ອຜ້າອັນປະນີດ ແລ້ວກາຍເປັນຜູ້ນຸ່ງຜ້າເປືອກໄມ້?
{ "primaryRasa": "hasya", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
External marks of renunciation (jaṭā, bark-cloth) should be purposeful rather than performative; the implied ethical question is whether austerity is undertaken for higher realization or merely as a dramatic rejection of comfort.
It belongs to narrative instruction (carita/anvākhyāna) embedded in Purāṇic dialogue, not to the five cosmological marks as primary subject matter.
Ornaments vs. bark-cloth symbolizes the polarity of śṛṅgāra (worldly adornment) and vairāgya (dispassion). The verse pushes toward the Purāṇic ideal that true tapas is an inner state, with outer signs secondary.