Kalapriyanatha
Summary
The article addresses the identity of the deity Kalapriyanatha, who is traditionally associated with the staging of Bhavabhuti's three dramas. Modern scholars usually identify Kalapriyanatha with Mahakala of Ujjayini, though Dr. S. Ray has proposed Kalpi as an alternative location. The author argues that this scholarly debate stems from a misinterpretation of the compound word "Kalapriyanatha," which can be incorrectly split into "Kala" and "priyanatha." The author provides evidence from the *Uttararamacharita*, *Madhavavijayavrittanta*, and *Malatimadhava* to show that the term refers to a specific deity in the poet's territory. The author cites Jagaddhara, an old commentator on *Malatimadhava*, who suggests Kalapriyanatha is a distinguished local deity. Additionally, a recension of the *Madhavavijayavrittanta* contains the reading "Kalapriyanatha" instead of "Kalashtriyana." The author examines the etymology of "Kalapriya," noting that this name belongs to the sun god in the *Skanda Purana* and the *Padma Purana*. Citing Nagendra Nath Basu, the text highlights that Kalapriya was worshipped on the banks of the Yamuna River and was one of three forms of the sun god, alongside Mulasthana and Bhaskara. The author disputes Basu's view that "Kalapriyanatha" is an image of Lord Shiva founded by the sun god, arguing that Basu's interpretation relies on an incorrect splitting of the compound word. Instead, the author proposes the correct splitting is "Kalapriyasya natha," meaning "lord of Kalapriya." This is supported by the *Shri Rudra Sahasranama*, which lists Kalapriya as a name for the sun god. Finally, the author presents an uncontroversial piece of evidence from Kile's edition of *Malatimadhava*, which includes a broken reading referring to the sun god as "Kalapriyanatha." The author concludes that Kalapriyanatha was a form of the sun god located in the middle part of India, and that all of Bhavabhuti's plays were staged at the festival of this deity.
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Conclusion
This article resolves the scholarly debate regarding the identity of Kalapriyanatha, the deity associated with the staging of Bhavabhuti’s plays. By critically examining the compound word *Kalapriyanatha*, the author demonstrates that it refers to a specific form of the sun god, *Kalapriya*, rather than Mahakala of Ujjayini. The analysis relies on textual evidence from the *Uttararamacharita*, *Malatimadhava*, and *Madhavavijaya*, alongside corroborating references from the *Skanda Purana* and *Padma Purana*. The author refutes the disjunctive reading *Kalapriyasya natha* (lord of *Kalapriya*) in favor of the Bahuvrihi compound *Kalapriyanatha* (one whose lord is *Kalapriya*). Ultimately, the findings establish that Kalapriyanatha was a distinguished sun deity worshipped in the central Indian region, and the plays were performed during his festival.