Kavyalankarasarasamgraha 5.16

5.16

evamete bhāvānāmavagatihetavaścātvāraḥ /
yaduktaṃ bhaṭṭodbhaṭena "catūrūpā bhāvā"iti /
tadeṣāṃ ratyādikānāṃ bhāvānāṃ pañcāśatsaṃkhyānāṃ yānyanubhāvādibhiścatuḥsaṃkhyaiḥ samastatvena vyastatvena ca yathāyogaṃ sūcanāni svalakṣaṇasvarūpāṇāṃ sāmānyāvasthāpāditānāṃ pratipādanāni taiḥ kāvyamupanibadhyamānaṃ preyasvat /
preyaḥśabdavācyena priyatareṇa ratyālambanena vibhāvanena ratirupalakṣyate /
tayā ca sāhacaryādratyādayo bhāvāḥ pañcāśadavagamyante /
evaṃ ca bhāvakāvyasya preyasvaditi lakṣaṇayā vyapadeśaḥ /
atra ca bhāvānāmalaṅkāratā, kāvyamalaṅkāryam /
tasyodāharaṇam----

Thus these are the four causes of the comprehension of emotions, / as Bhaṭṭa Udbhaṭa has said: “emotions have four forms.” / So, when poetry is composed by means of these fourfold [causes]—consequents and the like—taken collectively or individually as appropriate, which are intimations, that is, presentations, of these fifty emotions beginning with love, whose own unique essences have been brought to a generalized state, it is [termed] ‘the impassioned’ (preyasvat). / By the word ‘dearer’ (preyas), denoted by the term [preyasvat], love is indirectly indicated through its determinant as an object of affection; / and by this [love], through co-occurrence, the fifty emotions beginning with love are understood. / And thus a poem possessing emotion is designated as ‘the impassioned’ by figurative transfer. / And here, the emotions are the ornament, and the poem is the object adorned. / An exemplification of it: