Madras in an Eighteenth Century Poem: Temples, Patrons and Urban landscape as seen in Sarva-deva-vilasa

A look at the world of politics, statecraft, diplomacy and books

Several decades back Dr V Raghavan published the Sarva-deva-Vilasa in the Adyar Library Series. This Champu, written in both prose and poetry, does not rank high for its literary merits as it is replete with violations of the rule of Sandhi, intersperses Sanskrit with Tamil and Telugu colloquialisms, and there are grammatical bloopers as well. However, it provides us a glimpse of the City of Madras as it fell under the growing influence of the s'veta mukha palita, the white faced as this poem rather inelegantly calls the English. 

The author is as yet unknown but the two protagonists are referred to as Vivekin and Ativivekin, intelligent and more intelligent, respectively. Both are in search of new patrons for their craft, the kathakalakshepa, religious and ethical discourse. And as astute observers of the social and economic changes in the City, they latch on to three or four men, all of whom were connected in some form or other with the East India Company and its trading activities. Some of the men appear in Historical Records put together by Love and so we can date the poem circa late 18th century as the Mayor's Court was established in 1753 and one of the personages mentioned was a Kanakkappa,  the dubash ( Interpreter) to the Court. Kalingaraya, Srirangaraya, and Vedachala were the prime patrons and the poems revolves around them and the social network in which they lives circled. These three men belonged to the socially dominant community that arose to prominence in the late Vijayanagara period: the Tondaimandala Vellalas. 

The poem provides a list of temples in and around the city of Madras,and even Ramalinga Swamiar, called it, "dharma migu Cennai". Vaisnava and Saiva temples received patronage from these upcoming magnates who sought opportunities for social and economic advancement by collaborating with the East India Company and its traders. Textile trade, pearl and diamond trade, beetle leaf monopoly, money lending were all part of the portfolio of interests that this new group commanded in Madras, Pulicat, Pondicherry and Nagapattinam. As agents controlling the textile trade at both the production and distribution points, these men became immensely wealthy and replaced the kings and chieftains who had patronised literature and art earlier. In fact all three patrons mentioned in the poem were dharmakarttas, temple controllers    

Perumal Temple Tirunirmalai

The temple at Tirunirmalai is a divyadesam and the poem describes the palace as Toyadri thereby indicating its high status among Vaishnava holy places .Our poets visited this temple along with Vedachala and in the evening there was organized a sadas in which

  music and dance were exhibited. The poets were gratified to receive gifts from their patron.

 The Krishna Temple in Coral Merchants Street was an important place of worship in the 18th century.  Along with the Chenna Keshava Perumal Temple, this temple too was built towards the middle of the 18th century, after the "native" population had been evicted from the Fort. 

Agastesvara Temple

Nungambakkam, looked far different in the 18th century than now.  The Long Tank which stretched from Mylapore to Tennampet and spread into Nungambakkam, gave the names by which these parts are known today: Spur Tank Road.  The Agastyeesvara Temple was an important shrine and our poets visited it and they refer to the Big Lake along side this temple. The Long Tank was drained in the last quarter of the 19th century and the vestiges of the Long Tank disappeared when Karunanidhi decided to build the Valluvar Kottam.

Vasavi Kanyaka Perumal Temple 
Kotwal Chavadi Black Town

The Vasavi Kanyaka Temple was one of the most important  shrines associated with the Beri Chetti Community of South India. A detailed description of this temple is given in the poem and before Kotwal Chavadi yeilded its importance to Koyembedu, this was a thriving commercial centre.  In all the sites visited, the poets participated in the religious festivities which often culminated in all night Katha Kalekshepa 

The Sarva deva Vilasa offers us a unique glimpse into the social and cultural life of the indigenous population in the cusp of colonial rule. There are references to the influence of Military Band music on Carnatic Music, the early use of violin, a western instrument, in the emerging repertoire of Classical compositions, and we find adequate enough information about the landmarks of Old Madras.