Kavyalankarasarasamgraha 5.35

5.35

kvacitkhalu rasabhāvānāṃ śāstrasaṃvidaviruddhena rūpeṇopanibandhaḥ kriyate, kvacittu tadviruddhena /
tatra yatra śāstrasaṃvidaviruddhena rūpeṇa teṣāmupanibandhastatra preyo 'laṅkāro rasavadalaṅkāraścābhihitaḥ /
yatra tu tadviruddhatvaṃ tanmūlakalokavyavahāraviruddhatvaṃ ca tadviṣayāṇāṃ rasabhāvanāmupanibandhe satyūrjasvikāvyaṃ bhavati /
tatra hi rāgadveṣamohakāraṇakā anaucityena rasabhāvā upanibadhyante /
ata eva tatra svakalpanāparikalpitatvena ūrjaso balasya vidyāmānatvādūrjakhivyapadeśaḥ /
'jyotsnātamisre'tyatra urjasviśabdaḥ (pā. a. 5 / 2 / 114) //

Indeed, in some cases, the composition of aesthetic relishes and emotions is done in a form that does not conflict with the understanding of the treatises, but in other cases, in a form that conflicts with it.
Among these, where their composition is done in a form not conflicting with the understanding of the treatises, the affectionate ornament (preyas) and the relish-possessing ornament (rasavat) have been stated.
Where, however, there is a composition of aesthetic relishes and emotions regarding objects that conflict with that [understanding of the treatises] and conflict with conventional worldly conduct rooted in it, that poetry is energetic (ūrjasvin).
For there, aesthetic relishes and emotions having passion, hatred, and delusion as causes are composed through impropriety (anaucitya).
For this very reason, because energy (ūrjas) in the sense of force is present there due to being conjured by one's own imagination, it has the designation 'energetic' (ūrjasvin);
the word 'ūrjasvin' is formed by Pāṇini's rule: "[the suffix matup occurs after the words] jyotsnā, tamisrā... [ūrjas, etc.]" (Aṣṭādhyāyī 5.2.114).