Kavyalankarasarasamgraha 7.40

7.40

rasābhivyaktyanuguṇatā /
tadeteṣāṃ trayāṇāṃ guṇānāṃ madhyātprasādasya prādhānyam /
mādhuryaujasostu tattadrasābhivyaktyānuguṇyena tāratamyenāvasthitayoḥ prasāda eva sopayogatā /
evaṃ ca tatra tadrasānuguṇyena mādhuryaujobhyāṃ tāratamyenāvasthitābhyāṃ upakṛto yo 'sau prasādātmā rasānāmavyavadhānena pratītiheturguṇastadupetaśabdārthaśarīratvena kāvyasyāvasthānātsarasataiva bhavati, na tu nīrasatā /
yadyevamidānīṃ guṇaireva kṛtakṛtyatvātkāvyasyālaṅkārāṇāṃ tatra nirupayogatā prāpnoti /
naivaṃ guṇāhitaśobhe kāvye alaṅkārāṇāṃ śobhātaśayavidhāyitvāllaukikālaṅkāravat /
yathāhi laukikānāmalaṅkārāṇāṃ guṇasaṃskṛte yuvativapuṣi nibadhyamānānāmalaṅkāratā evaṃ kāvyālaṅkārāṇāmapi draṣṭavyam /

[Now, clarity is] suitability for the manifestation of aesthetic relish without interruption.
Therefore, among these three qualities, clarity is primary.
Sweetness and vigor, however, situated in varying degrees in accordance with the suitability for the manifestation of respective aesthetic relishes, have their utility only within clarity.
And so poetry, situated with a body consisting of word and sense endowed with that quality having the nature of clarity—which is the cause of the immediate perception of aesthetic relishes, aided by sweetness and vigor situated in varying degrees in accordance with the respective aesthetic relish—is necessarily full of aesthetic relish, and never devoid of it.
If that is so, then since poetry has accomplished its purpose by means of qualities alone, ornaments would turn out to be useless there.
This is not so; for in poetry whose beauty has been produced by qualities, ornaments create an excess of beauty, just like worldly ornaments.
For just as worldly ornaments, when placed on the body of a young woman embellished by qualities, function as ornaments, the same should be understood regarding poetic ornaments.