Kavyalankarasarasamgraha 5.31

5.31

kadambakalikākośaḥ kadambakalikābhyantaram /
atra bhagavata ābhilāṣikavipralambhaśṛṅgāro nibaddhaḥ /
tasya svaśabdaḥ 'kandarpaḥ prabala'iti /
sthāyī tatraiva svaśabdenonmīlitaḥ kandarpa iti /
ratiparipoṣātmako hi śṛṅgāro rasaḥ /
ratiśca yūnāṃ manmathātmikā /
ato rativiśeṣasya vācakatvātkandarpaśabdaḥ sthāyino 'tra svaśabdaḥ /
saṃcāriṇaścautsukyacintāharṣāḥ svaśabdenonmīlitāḥ. svedaromāñcau ca sātvikau svaśabdopāttau /
tayorapi ca saṃcāritvam /
sātvikānāṃ sthāyibhāvāvasthāviśeṣatvena nirvedādivatsaṃcāritvāt /
vibhāvastu 'iti bhāvayatastasya'iti nirdiṣṭaḥ /
bhagavatī hi tattadguṇopetatvena vibhāvyamānā vibhāvaḥ /
abhinayastvatrāpāṅgābhinayo nirdiṣṭo 'dṛśā'iti /
ato 'trābhilāṣikaḥ śṛṅgārarasaḥ svaśabdādibhiḥ pañcabhirabhivyajyate /
evamanye 'pi rasā udāhāryāḥ /
rasānāṃ bhāvānāṃ ca kāvyaśobhātiśayahetutvāt kiṃ kāvyālaṅkāratvamuta kāvyajīvitatvamiti na

"The calyx of the kadamba bud" means the interior of the kadamba bud.
Here, longing-in-separation erotic relish (ābhilāṣika-vipralambha-śṛṅgāra) belonging to the Lord is depicted.
Its own word is "powerful passion" (kandarpaḥ prabalaḥ).
The dominant state (sthāyibhāva) is illuminated right there by its own word, "passion" (kandarpa).
For erotic relish is by nature the culmination of love (rati);
and love among youths is of the nature of sensual desire (manmatha).
Therefore, being expressive of that particular kind of love, the word 'kandarpa' is here the dominant state's own word.
The transitory states (saṃcāribhāva)—longing, anxiety, and joy—are illuminated by their own words. Perspiration and horripilation, which are bodily manifestations (sāttvikabhāva), are also conveyed by their own words.
These two are also transitory states,
for bodily manifestations, being particular states of the dominant emotion, are transitory states just like despondency (nirveda) and the rest.
The foundational cause (vibhāva) is indicated by the words: "as he was contemplating thus";
for the Lady [Gaurī], being contemplated as possessed of those various qualities, is the foundational cause.
The dramatic enactment (abhinaya) is indicated here as the enactment of glances by the word "with a look" (dṛśā).
Therefore, longing erotic relish is manifested here by the five factors beginning with its own word.
Other aesthetic relishes should be exemplified in this same manner.
Since aesthetic relishes and emotions are the causes of excellence in poetic beauty, whether they constitute poetic ornaments or the very life of poetry is not