eteṣāṁ tu tathā-bhāve bhagavat-kāvya-nāṭyayoḥ
eteṣāṁ tu tathā-bhāve bhagavat-kāvya-nāṭyayoḥ |
sevām āhuḥ paraṁ hetuṁ kecit tat-pakṣa-rāgiṇaḥ ||
kintu tatra sudustarka-mādhuryādbhuta-sampadaḥ |
rater asyāḥ prabhāvo’yaṁ bhavet kāraṇam uttamam ||
(Bhakti-rasāmṛta-sindhu: 2.5.90–91)
“Some [paṇḍitas] who are fond of that view [i.e., the view of conventional kāvya (poetics) and nāṭya (dramaturgy)] say that honoring kāvya and nāṭya related to Bhagavān [i.e., listening to recitations of kāvya, watching performances of nāṭya, and so on] is the primary cause in their being such [i.e., of vibhāvas, anubhāvas, etc. manifesting], but therein [i.e., in regard to vibhāvas, anubhāvas, etc.] this [present] influence of rati for him [i.e., Bhagavān], which is endowed with the wondrous excellence of highly incomprehensible sweetness, is the ultimate cause.”