Text 5.4

[This illustrates the rasavat ornament:]

कोपे यथातिललितं न तथा प्रसादे
वक्त्रं विधिस् तव तनोतु सदैव कोपम्
इत्य् आकलय्य दयितस्य वचो-विभङ्गीं
राधा जहास विहसत्सु सखी-जनेषु

kope yathātilalitaṃ na tathā prasāde
vaktraṃ vidhis tava tanotu sadaiva kopam
ity ākalayya dayitasya vaco-vibhaṅgīṃ
rādhā jahāsa vihasatsu sakhī-janeṣu

kope—when there is anger; yathā—as; atilalitam—very charming; na tathā—not like that; prasāde—when there is serenity; vaktram—face; vidhiḥ—the Creator; tava—Your; tanotu—may he make; sadā—always; eva—only; kopam—anger; iti—(end of citation); ākalayya—after noticing (hearing); dayitasya—of the male beloved; vacaḥ—of speech; vibhaṅgīm—the crookedness; rādhā—Rādhā; jahāsa—laughed; vihasatsu sakhī-janeṣu—among Her friends, who were laughing (or while Her friends were laughing).

“Your face is not as sexy when You are serene as when You are angry. The creator should always make You angry.” Hearing these crooked words of Her beloved, Rādhā laughed among Her friends,  who burst into laughter. (Alaṅkāra-kaustubha 4.5)

atra hāsyasya vipralambha-śṛṅgāro'ṅgam.

In this verse, the mood of love in separation (vipralambha-śṛṅgāra) is a subsidiary aspect of hāsya-rasa (humor).

Commentary:

The verse evokes vipralambha in the sense that Kṛṣṇa’s words were related to Rādhā by Her confidantes. Here hāsya-rasa is the aṅgī (the main element in the text), whereas śṛṅgāra-rasa is the aṅga (a subsidiary aspect).

This is Mammaṭa’s example:

ayaṃ sa raśanotkarṣī pīna-stana-vimardanaḥ |
nābhyūruja-ghana-sparśī nīvī-visraṃsānaḥ ||

[Bhūriśravā’s wife laments upon seeing his hand lopped in battle (Mahābhārata):]

“This is the hand which drew my girdle, pressed my plump breasts, touched my navel, thighs and hips, and loosened my girdle” (Kāvya-prakāśa verse 116).

Mammaṭa elaborates:

atra śṛṅgāraḥ karuṇasya,

“Here śṛṅgāra-rasa is an aspect of karuṇa-rasa (lamentation)” (Kāvya-prakāśa verse 116 vṛtti).