Kavyalankarasarasamgraha 5.49

5.49

nanu yadi tasminkāvye rasādīnāṃ vṛttiḥ parihniyate, evaṃ sati pūrvarasādinivṛttyā rasādyantaropanibandhādrasavadādyalaṅkārānupraveśaḥ prasakta ityāśaṅkyoktaṃ---anyānubhāvaniḥśūnyarūpamiti /
anyasya rasādyantarasya ye 'nubhāvādayaḥ tairniḥśeṣeṇa śūnyaṃ rūpaṃ yasya tattathoktam /
yatra pūrveṣāṃ rasādīnāṃ vāsanāyā dārḍhyena teṣūpaśānteṣvapi rasādyantarāṇāṃ na svarūpamāvirbhavati, āvirbhavadapi vā kāryavaśena kenacittirodhīyate, tatra samāhitālaṅkāro bhavati /
tasyodāharaṇam----

Now, an objection may be raised: If in that poetic work the occurrence of an aesthetic relish and the rest is eliminated, then upon the cessation of the former aesthetic relish and the rest, another aesthetic relish and the rest would be composed, which entails the intrusion of the relish-possessing ornament (rasavat) and so on. Anticipating this, [the author] said: "whose form is completely devoid of the consequents of another."
It is described as such whose form is completely (niḥśeṣeṇa) devoid of the consequents (anubhāva) and so on of another (anya), that is, of another aesthetic relish and the rest.
Where, owing to the firmness of the latent impressions of the preceding aesthetic relishes and the rest, the nature of other aesthetic relishes does not manifest even when they have subsided—or, even if manifesting, is concealed by some circumstance—there the quieted ornament occurs.
Its example: