Sweetness, the source of pleasure, causing as it were the melting of the heart, is appropriate in the sentiments of love in enjoyment, pathos, love in separation, and calm; it is normal in love in union, and rises in degree successively in the other three forms of sentiment; unmixed in the others, in that of calm it is combined with a small degree of strength, because of the relation of the sentiment of calm to the emotion of disgust. Strength causes the expansion of the heart; it rises in vehemence in the sentiments of heroism, horror, and fury, and it is found also in that of terror. The quality of clearness is appropriate to all the sentiments, and is that which causes the sense to become intelligible, pervading the mind as fire does wood or water a cloth, as the outcome of merely hearing the words. The precise mode in which sweetness is produced is by the use of mutes other than cerebrals, with their appropriate nasals, r and ṇ with short vowels, and no compounds or short compounds; strength results from the use of compound letters, doubled letters, conjunct consonants of which r forms part, cerebrals other than ṇ, palatal and cerebral sibilants, and long compounds. The older names, Vaidarbha, Gauḍa, and Pāñcāla are now given up in favour of refined (upanāgarikā), harsh (paruṣā), and soft (komalā). But Mammaṭa reminds us that in drama very long compounds are undesirable, a rule ignored largely by the later dramatists. More important than these technical details, which are illustrated often enough in the verses composed by the later dramatists, and no doubt possess considerable antiquity, is the changed view [706] which brings the qualities in the new sense into relation with the sentiment. Sentiment is the very soul of poetry, and the relation of the qualities to it may be most effectually compared with that of such virtues as heroism to the soul of man. They serve to heighten the effect of the sentiment, and therefore they cannot be considered save in close relation to that sentiment. However soft and sweet the verbal form of a work, none the less it cannot be said to possess the quality of sweetness, unless it has a sentiment to which sweetness is appropriate. To give it the name of sweet, if the sentiment is incompatible with sweetness, is compared with regarding a tall man as brave on the strength of his appearance only. The sounds, therefore, produce the qualities only as instruments, for the real cause is the sentiment, even as the soul is the true cause of the heroism and other qualities of a man.