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Joy consisting in the melting of the heart is called 惭腻诲丑耻谤测补.^[1] This means, the speech which bestows happiness to the mind is regarded as sweetness or tenderness i.e. 惭腻诲丑耻谤测补. Again, Bharata is of the view that the speech which has been heard for many times or uttered many times but, there does not arise any kind of feeling of agitation that is to be remembered as 惭腻诲丑耻谤测补.^[2] 痴腻尘补苍补 opines that separated or independent words are of 惭腻诲丑耻谤测补 quality.^[3] 鲍诲产丑补峁璦 in the same line of 厂腻丑颈迟测补诲补谤辫补峁嘺, states that speech which provides happiness is 惭腻诲丑耻谤测补.^[4] Regarding its employment, 痴颈艣惫补苍腻迟丑补 holds that this 惭腻诲丑耻谤测补 is to be used successively higher in Sa峁僢hoga艣峁涐箙g膩ra, 碍补谤耻峁嘺, 痴颈辫谤补濒补尘产丑补艣峁涐箙驳腻谤补 and in 艢腻苍迟补.^[5] 痴颈艣惫补苍腻迟丑补 further states that r and 峁� short, and such letters, excepting the cerebrals 峁璦, 峁环补, 岣峚, 岣峢补, as are preceded by the last of the series i.e. the dentals, cause the manifestation of 惭腻诲丑耻谤测补, as also an absence or a paucity of compounds and a melodious style.^[6] The 惭腻诲丑耻谤测补 is used mostly in delineating the sentiment of love, when there is expressed charming feeling attached to the erotic sentiment, it is called 惭腻诲丑耻谤测补.^[7] It is that type of pleasure or happiness which one gets while relishing the love in union and the heart of hearts of the connoisseur, as if, melts and there pervades some non-terrestrial softness and bliss, however it is respectively more pleasurable in 碍补谤耻峁嘺 and then in 艢腻苍迟补.^[8]

惭补峁卥丑补办补 uses 惭腻诲丑耻谤测补驳耻峁嘺 in depicting Sa峁僢hoga艣峁涐箙g膩ra in his poem. The poet gives descriptions of the amusements of 艢颈惫补 and 骋补耻谤墨, wherein, the quality 惭腻诲丑耻谤测补 is noticed.

In the canto VII, 艢颈惫补 addresses 骋补耻谤墨, with his erotic speech to observe the beauty of the mountain 碍补颈濒腻蝉补. He invites^[9] Her to enjoy the gait of the dancing, joyous bees at the advent of the spring. He also urges Her to behold the spotted deer etc., which has made the forest variegated. Thus, some of the verses which are characterized by the 驳耻峁嘺 known as 惭腻诲丑耻谤测补, while depicting Sa峁僢hoga艣峁涐箙g膩ra, found in the poem are viz. 尘补濒补测补谤补箩补蝉腻^[10]....., mukhamarudiva^[11]鈥�.. etc. 惭补峁卥丑补办补 uses 惭腻诲丑耻谤测补, also in case of parting of lovers in canto XXI.

There is a verse, where the poet says that the soldiers are departing to the battle field; as they are parting from their beloveds, they have kept patience just because of their getting embrace and nectar of the lips of their beloveds.^[12] Consequently, they are moving forward with delight, taking that embrace and kiss, as to be their cherished treasure. 惭腻诲丑耻谤测补 is seen in the pathetic scene of the poem also.

In canto XVII, 艢颈惫补 noticed the pale as well as faded faces of the gods and understands their plight and sorrow. At the oppression of the demons, the gods lose their patience, their faces take the form of morning moon i.e. become glowless and their very facial expressions indicate their despondency, as noticed by Lord 艢颈惫补.^[13] Besides, 惭补峁卥丑补办补 employs 惭腻诲丑耻谤测补驳耻峁嘺 in the appreciative sentences of the gods to Lord 艢颈惫补 i.e. in case of quietistic sentiment also, this quality is found.

As for example, the gods expressed their feeling of self-disparagement before the Lord, in some verses in the canto XVII. Therein a verse, gods extol 艢颈惫补, saying that by nature, the water of the Ganges is pure, likewise, as the holy water of Ganges divides into three streams, the Supreme Reality or Pure 艢颈惫补 divides itself into 叠谤补丑尘腻, Hari and Hara.^[14]

Footnotes and references:

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[1]:

cittadrav墨bh膩vamayo hl膩do m膩dhuryamucyate/
厂腻丑颈迟测补诲补谤辫补峁嘺., VIII

[2]:

bahu艣o yat 艣ruta峁� v膩kyamuktan v膩pi puna岣� puna岣�/
nodvejati yasmadhvi tanm膩dhuryamiti sm峁泃a峁�// N膩峁瓂a艣膩stra., XVII. 100

[3]:

p峁泃hakpadatva峁� m膩dhuya峁�/ K膩vy膩la峁僰膩ras奴trav峁泃ti., III. 1. 20

[4]:

tatra m膩dhuryam膩hl膩dakatva峁� /
K膩vy膩la峁僰膩ras膩rasa峁僩raha, VI, page 81

[5]:

sa峁僢hoge karu峁噀 vipratambhe 艣膩nte鈥檇hika峁� kram膩t/
厂腻丑颈迟测补诲补谤辫补峁嘺., VIII. 2

[6]:

m奴rdhni varg膩ntyavar峁噀na yukt膩峁ａ弓a峁环补岣嶀笉h膩nvin膩/
ra峁嘺u lagh奴 ca tadvyaktau var峁嚹佱弗 k膩ra峁噒膩峁� gat膩岣�/
av峁泃tiralpav峁泃tirv膩 madhur膩 racan膩 tath膩// Ibid., VIII. 3, 4

[7]:

madhura峁� ra峁�avadv膩ci vastunyapi rasasthiti岣�/
yena m膩dyanti dh墨manto madhuneva madhurvrat膩岣� //
K膩vy膩dar艣a., I. 51

[8]:

膩hl膩dakatva峁� m膩dhuryya峁� 艣峁涐箙g膩re drutik膩ra峁嘺峁�/
karu峁噀 vipralambhe tacch膩nte c膩ti艣ay膩nvita峁�//
K膩vyaprak膩艣a., VIII. 68

[9]:

surabhimanug峁沨膩峁嘺 devi n峁泃yanmadhukaraketakabandhubhi岣� ka峁�膩k峁�ai岣�/
bhavatu 艣abalamantika峁� van膩n膩峁� viharadana峁単avil膩sak峁涐梗峁嘺s膩rai岣�//
艢r墨ka峁囜够凡筩arita., VII. 10

[10]:

尘补濒补测补谤补箩补蝉腻 h峁泃膩vak膩艣a峁� tanu峁�u cakorad峁浥浤乵as奴yayeva/
stabakakapa峁璦to鈥檇ya dh墨ram膩ste viracitap膩艣ama艣okama帽jar墨峁�u// Ibid., VII. 16

[11]:

Ibid., VII. 22

[12]:

cac膩la ka艣citparito峁�avihvalai岣� padai岣� prav墨ro dh峁泃adhairyavipru峁�a岣�/
svavallabh膩y膩 nibi岣峢膩vag奴han膩mav膩pya p膩theyamiv膩dhar膩m峁泃a峁�//
Ibid., XXI. 22

[13]:

pr膩pt膩n膩峁� mama savidha峁� vidh奴tadhairy膩 cary膩sau vipulamupaplava峁� vyanakti/
vi艣li峁�yannijamahas膩峁� mukh膩ni yadva岣� pr膩tastya峁� rajanipati峁� vi岣峚mbayanti//
Ibid., XVII. 35

[14]:

nanveva峁� kimapi vinirmala峁� prak峁泃y膩 tvadr奴pa峁� surasaridambuvatpun墨te/
srotobhistribhiratha k膩ra峁嚹乼mabhistadvi艣v膩tmank峁泃akamapi vyanakti bheda峁�//
Ibid., XVII. 19