THE CONTRIBUTION OF PAMMAL SAMBANDA MUDALIAR: PART II

Along with Pushpavalli, Sambanda Mudaliar also wrote another play titled “Sundari” with an intention to inaugurate the plays on the same occasion. Intense rehearsal sessions followed. Sambanda Mudaliar says that according to his count, no less than 52 rehearsals were held for Sundari with each rehearsal running for five to six hours.

The Suguna Vilasa Sabha faced immense difficulties before the two plays could be staged. Sambanda Mudaliar had decided that the Sabha would make its own curtains for the plays, which meant that a lot of money had to be spent. It was decided by the Sabha that the support of the Rajah of Ramnad be enlisted and he be appointed its patron, which would ease the financial constraints. Meeting the Rajah, they received a generous donation of Rs.300 from him. This amount was utilised by the Sabha for making the curtains. To indicate that the group was made up of graduates and students, the front drop curtain sported a picture of the Senate House. Financial help for the costumes came from Batcharam Sahib, a constituent of the royal family of Thanjavur, who donated Rs.200 to the Sabha.

With preparations going on in full swing for the inauguration of the two plays, the group decided to meet several prominent citizens of the city and enlist their support. It met Rajah Sir Savalai Ramasamy Mudaliar, the famous philanthropist and requested him to be the President of the Sabha. He readily agreed to the same. Rao Bahadur Ranganatha Mudaliar was made the Vice President of the Sabha. A man who initially refused to be a supporter of the Sabha but later became a staunch pillar of support was Dewan Bahadur P.Rajaratna Mudaliar.

Next was the task of booking the Victoria Public Hall for the performances. The Sabha was yet again short of funds and it was left to the President, Rajah Sir Savalai Ramasamy Mudaliar to meet the entire rent of the hall for the first performance, amounting to Rs.50 per day. The rent for the second day was met by a philanthropist from Pondicherry. Huge posters advertising the plays were printed in colour and pasted on the pavement walls of all the prominent streets in the city. Around 25000 hand bills were also printed to be distributed to the public. A retired Sepoy was given the task of distributing them. The sepoy went around blowing a bugle seated on a horse rented for the occasion and distributed the bills who had gathered around him on hearing the sound of the bugle.

On the day of the inauguration of Sundari, the Victoria Public Hall was decorated with arches and flags. A band was hired to perform between 4 PM and 9 PM, when the performance would start. All the publicity paid off, with a vast crowd turning up for the play and staying for the entire duration, which lasted about 5 and a half hours. The next Saturday saw a huge crowd turning up for Pushpavalli as well. The two plays were subsequently staged for a few times in Bangalore as well.

The success of these plays spurred Sambanda Mudaliar to come out with his third play, Leelavathi-Sulochana. This was staged more than 50 times by the Suguna Vilasa Sabha and was its first major hit. It was also financially successful, earning more than Rs.25000. Sambanda Mudaliar says that amongst all his plays only Manoharan was a bigger hit. Leelavathi Sulochana was also the first play of Sambanda Mudaliar that was staged by another troupe. After obtaining the permission of Sambanda Mudaliar, it was staged by Govindaswamy Rao’s Manmohana Nataka Sabha.

Sambanda Mudaliar shares some interesting insights into the method he adopted for writing a new script in his memoirs, Nataka Medai Ninaivugal. He says that on deciding to write a new script, he would run the idea over and over in his head for a few days and decide how the script would start, the path it would follow and the way it would end. He would then assign alphabets to the various characters and jot down scene by scene the interaction between them. Any new character that occurred to him during this process would also be included. The characters would then be named, usually according to the qualities their role depicted. Only then would the actual writing of the script start. At certain points, he would read out the script to his close friends and get their feedback and make changes if necessary, before proceeding further.

Sambanda Mudaliar’s fame as a playwright scaled great heights with his 6th play, Manoharan. In his memoirs, he says that the play had been staged by various troupes across the Madras Presidency a record 859 times (up to the year 1932) with his permission and probably saw an equal number of performances without his permission. The idea for the story was born when he attended a religious discourse on the life of Dhruva. Struck by the part where Dhruva is grief stricken by the suffering of his mother thanks to the actions of the king’s second wife, Suruchi, Sambanda Mudaliar decided to write a play having this as the storyline, replacing the character of the second wife with that of a mistress. The play was inaugurated on the 14th of September 1895 at the Victoria Public Hall. Sambanda Mudaliar says that though the collections on the occasion amounted to only Rs.200, the play was however well appreciated by those present. The songs for the play were composed by the legendary Sankaradas Swamigal. The climax of the play was the famous “Sangili Scene” (as it came to be popularly known amongst the public), where the hero broke free from the chains with which he was tied to the pillars.

So successful was the play that it was made into a movie twice. The first one, which was made in Bombay in 1936 and had Sambanda Mudaliar playing the role of the king Purushothaman sank without a trace. The second one however, made in 1954 is much remembered even today, thanks to the brilliant performance of Sivaji Ganesan. The dialogues of the original play were virtually rewritten by Mu.Karunanidhi.

With the initial plays being warmly received, the Suguna Vilasa Sabha started experimenting with different forms of theatre. It staged Julius Caesar in English at the Victoria Public Hall in 1896 and from 1897 onwards, also started staging Telugu plays. Sambanda Mudaliar also later translated and reworked many of Shakespeare’s works to suit a local setting. The names of the plays too bore a semantic resemblance to the original titles. For eg. Romeo and Juliet was named Jwalita Ramanan, Hamlet was named Amaladityan, Cymbeline was named Sarasangi and Macbeth was named Magapathi. Another novel attempt by Sambanda Mudaliar was Chandrahari, a parody on Harischandra. In this play, the protagonist was a King who spoke nothing but lies!! The names of the characters in the play were inverted too. For instance, Lohidasan was Dasalohi while Chandramathi was Madichandra!! The Suguna Vilasa Sabha never staged this play and it was staged by several other troupes with the permission of Sambanda Mudaliar. One such troupe was that of the late V.K.Ramasamy. Writing in his memoirs, Enadhu Kalai Payanam he says that though very well written, this play was not a great success as it trivialised one of the great stories from our mythology.

This article was published in the May 2013 edition of Namma Chennai, the bilingual monthly.

Part 1 of the article can be accessed here

THE CONTRIBUTION OF PAMMAL SAMBANDA MUDALIAR

Hi Friends,

Following the post on the life of Sankaradas Swamigal, this post is Part 1 of a 3 part series on the life of Pammal Sambanda Mudaliar and his contribution to Tamil theatre.



The contribution of Pammal Sambanda Mudaliar towards the renaissance of Tamil theatre can be considered no less significant than that of Sankaradas Swamigal.

Born on 1st February 1873 to Pammal Vijayaranga Mudaliar and Manickavelu Ammal, Sambanda Mudaliar was the youngest of four sons of the couple, who also had four daughters. Vijayaranga Mudaliar hailed from a family of modest means and rose up in life with a lot of struggle. He joined the Government service as Deputy Inspector of Schools in Madurai and later retired as Assistant Inspector of Schools. He was a member of the University Senate, a member of the Board of Examiners in Tamil and also a trustee on board the Pachaiyappa’s Charities, besides being member of various other social organisations.

Sambanda Mudaliar had his early education in three pyol schools in Acharappan Street, George Town. As a boy of 7 years of age, he was then admitted to the Hindu Proprietary School in Broadway. The school was however soon shut down due to some reasons and Sambanda Mudaliar was shifted to the Govindappa Naicker Primary school in Kilpauk, which was a branch school of the Pachaiyappa’s College. It was here that Sambanda Mudaliar developed a flair for the literary gems of the English and Tamil languages and started learning them in earnest. He won a number of prizes every year for recitations from various works of Shakespeare and other authors. It was also here that he formed a long lasting friendship with V.V.Srinivasa Iyengar, who had joined the school at the same time and would later became a distinguished member of the Madras Bar and a judge of the Madras High Court.

After a stint then for a couple of years at the P.T.Chengalvaraya Naicker School (where he was transferred to from Govindappa Naicker School), Sambanda Mudaliar joined the Pachaiyappa’s College for his Matriculation, which he completed with a First Class. He stood first in the English and Tamil languages. He then joined the Presidency College, wherefrom he completed his F.A. and B.A. degrees. While in the B.A. degree, he won the Thompson’s Scholarship for standing first in the first year English exams. This scholarship carried a stipend of Rs.10 per month. It was to be one of many more prizes and awards for proficiency that he won. He also won the Northwick Prize for standing first in History in the Presidency.

It was around this time that he had his first exposure to stage plays. In 1891, he saw a performance at the Victoria Public Hall by the Sarasa Vinoda Sabha run by Bellary Krishnamacharlu, the noted stage actor of the times. Writing about it in his memoirs “Nataka Medai Ninaivugal”, Sambanda Mudaliar says that the hall was bursting at its seams and it was only the fact that he and his father had reserved seats that had got them entry. He was transfixed by the stage and its presentation right from the time the screen went up to the time the curtains fell down, a good five hours later. The play, with its neat production values sans vulgarity, struck a chord with Sambanda Mudaliar, who upto that point in time had a very low opinion of vernacular theatre, especially in the Tamil language whose plays then predominantly involved bawdy costumes and make up and contained vulgar songs and sequences.

Equally inspired by Bellary Krishnamacharlu’s plays were many other prominent citizens of Madras. A meeting was held in a school in Mannady to discuss the possibility of starting a Sabha to stage plays in Tamil, on the lines of Krishnamacharlu’s Sabha. At the end of the meeting, interested people were asked to sign on the paper expressing their interest in the venture. Amongst the earliest signatories were Sambanda Mudaliar and Jayarama Naicker, a man who would later go on to play an important role in the Suguna Vilasa Sabha.
On the 1st of July 1891, Suguna Vilasa Sabha came into being with the five other founders in addition to Sambanda Mudaliar and Jayarama Naicker. It is interesting to note that all of them were either still studying school or college or had just passed their degree examinations, making it an organisation run by a band of youngsters eager to make a mark in the field of drama. Advertisements in the newspapers and in the form of notices were then sent out explaining the purpose of the Sabha and soliciting memberships. However, these did not bring about a huge response with the exception of a handful of people expressing their willingness to join.

Undeterred by the poor response, Sambanda Mudailar and his friends set about the task of deciding the first play to be staged by the Sabha. Dominating the drama scene at the time were plays based on mythology and life of kings. One day, Sambandha Mudaliar happened to watch a performance of “Sthree Sahasam” by the Manmohana Nataka Sabha run by Govindasamy Rao, the famous theatre artiste from Thanjavur. The performances by the lead artistes captured his imagination and he decided that the first play by the Suguna Vilasa Sabha would be based on this story. He started writing the story, named the lead character Pushpavalli, and gave the same name to the play.

This article was first published in the April 2013 issue of Namma Chennai, the bilingual monthly.

THE FATHER OF TAMIL THEATRE

Hi Friends,

This is a brief profile of Sankaradas Swamigal, the man who can be considered the father of Tamil theatre as we know it today.

Sankardas Swamigal was born in 1867 in the port town of Tuticorin to Damodaran Pillai and Kanthimathi Ammal. Damodaran Pillai was a man renowned for his proficiency in the Tamil language. Well versed in the Ramayana, his mastery over the epic earned him the name of “Ramayana Pulavar”. Sankardas Swamigal had his early education in Tamil from his father. He later came under the tutelage of the famous Tamil scholar of the times, Palani Dandapani Swamigal. Learning along with him under Dandapani Swamigal was Udumalai Sarabam Muthuswami Kavirayar, a man who would go on to become another legendary Tamil scholar.

Sankardas Swamigal then worked for a while as an accountant in a salt factory. Having already started composing venpas and songs even as a young boy of sixteen, he found that the job was an impediment in his quest for excellence in the Tamil language and this led him to quit his job when he was twenty four years of age. Thus, the seeds were sown for the entry of a man on the Tamil Stage scene who would be regarded as its first Guru par excellence, a man to whom many leading stage artistes of the next generation owed their craft.

The first people to recognise the literary prowess of Swamigal were Ramudu Iyer and Kalyanarama Iyer, who were running a popular drama company during that time. Swamigal joined their troupe as an actor and later also became an author. As an actor, he was renowned for his variety of roles such as Iranian, Ravana, Lord Yama and Lord Saneeswara. He then joined the drama company of Samy Naidu where he donned the role of the suthradhar in several of their plays. His unique presentation methods as a sutradhar attracted many a crowd. It was during his time with Samy Naidu that he felt a sense of dissatisfaction with his life, the cause of which was probably a major disagreement with Samy Naidu. Sankaradas donned the ochre robe and left on a pilgrimage to various shrines of Lord Muruga and thenceforth came to be known as Sankaradas Swamigal.

The next significant event in his life was his association with the famous Kanjira exponent, Manpoondia Pillai, with whom he came to stay for a few years on completion of his pilgrimage. Manpoondia Pillai considered Sankaradas Swamigal as his adopted son. Struck by his wizardry and excellence in the various grammatical aspects of the Tamil language, Manpoondia Pillai enjoyed Swamigal’s company and many a time the duo had sessions where Manpoondia Pillai played the Kanjira to Swamigal’s songs. The famous Mridanga Vidwans of the times, Pudukottai Dakshinamurthy Pillai and Pazhani Muthiah Pillai were students of Manpoondia Pillai at that time.

Sankaradas Swamigal made a comeback to Tamil stage as a writer at the insistence of Manpoondia Pillai. He was soon associated with a number of drama companies as an author, notable amongst them being the drama company run by Valli Vaidyanatha Iyer and Alli Parameswara Iyer and P.S.Velu Nair’s Shanmukananda Sabha. It was during his time with P.S.Velu Nair’s company that he wrote the songs for Pammal Sambanda Mudaliar’s immortal classic, Manoharan. It was also at Shanmukananda Sabha that T.S.Kannuswamy Pillai, the father of the legendary TKS brothers first came to be associated with Sankaradas Swamigal.

Having worked with various troupes across the state and trained numerous artistes such as C.Cunniah, C.S.Samanna Iyer, Balambal and Kumbakonam Balamani at various times, Swamigal started his own drama troupe called the Samarasa Sanmarga Nataka Sabha in 1910. It was here that the legendary actor S.G.Kittappa learnt his trade. Around this time, the concept of “Boys Company” was slowly gaining popularity. A Boys Company typically followed the Gurukula system, where boys stayed together and learnt under the resident teachers. Besides various aspects of Tamil theatre, they were also taught aspects of administration such as book keeping, stores maintenance etc.

The first Boys Company Swamigal was involved with was Jagannatha Iyer’s Bala Meena Ranjani Sangeetha Sabha. The Company had on its rolls several boys who would go on to become big names in the world of theatre and cinema, such as Nawab T.S.Rajamanickam, M.R.Radha, S.V.Venkatraman and K.Sarangapani. Swamigal thus had the distinction of having trained several stalwarts in his stint here. However, this association lasted only for a few years, as Swamigal quit the troupe on account of differences with Jagannatha Iyer.

In 1918, Swamigal with the help of a few friends started his own Boys Company, the Tattva Meenalochani Vidwat Bala Sabha. It was here that T.S.Kannuswamy Pillai, who had first met Swamigal at P.S.Velu Nair’s Company, brought his three elder sons, T.K.Sankaran, T.K.Muthuswamy and T.K.Shanmugam to put them under the tutelage of Swamigal. In his memoirs “Enadhu Nataka Vazhkai”, Shanmugam gives an interesting account of his time at the Tattva Meenalochani Vidwat Bala Sabha and his experiences with Swamigal. Of the three siblings, he seems to have been the dearest to Swamigal who wrote a play, “Abhimanyu Sundari” keeping him in mind for the role of the protagonist. What was remarkable about this play that ran to nearly 4 hours was that it was written entirely in one night. Shanmugam also says that Swamigal was a stickler for discipline and was against artistes consuming betel, tobacco, beedis and the like. Anyone found violating the code was subjected to punishment by Swamigal.

In 1921, Swamigal fell ill just as the Company was leaving to Madras on a performance tour. The tour however went on as per schedule. One day, when the Company was performing at The Grand Theatre in George Town (where today the Murugan Talkies stands), a telegram arrived announcing that Swamigal had been seized by fits which had caused paralysis in his right hand and left leg. The Company was shaken by the news. Pazhania Pillai, one of the proprietors of the Sabha rushed to Tuticorin and brought him to Madras in the hope that the advanced medical facilities here could cure him. The efforts however did not bear fruit and Swamigal was confined to bed. Despite his ailment, Swamigal still attended performances and watched them from behind the side screens sitting on a cane chair. Though he could not speak, his brain was still alert and memory intact and he could often be seen admonishing actors who had forgotten their lines using gestures.

By 1922, Swamigal’s health had deteriorated considerably. On the night of 13th of November 1922, he passed away in Pondicherry, where he had shifted to during the last few years of his life. Many years later, thanks to the efforts of T.K.Shanmugam, a memorial was constructed for Swamigal in Pondicherry, where every year stage actors and members of the South Indian Artistes Association pay tribute to him on his death anniversary. The auditorium in the South Indian Artistes Association is called the Sankardas Swamigal Auditorium in memory of a man who had trained the earliest legends of the industry.

The article was written for the latest issue of Namma Chennai, the bilingual monthly.

NALLATHAMBI

This is the song book cover of Nallathambi, a 1949 classic starring N.S.Krishnan, T.A.Madhuram, S.V.Sahasranamam, P.Bhanumathi and others. Directed by the legendary duo of Krishnan Panju,the story and dialogues were by C.N.Annadurai.

The focus of this post is the "Kindanar Charitram", a wonderful exposition on untouchability conceived and performed brilliantly by N.S.Krishnan. It speaks of the journey of a boy to Madras from his village for his higher studies and his experiences here.

The entire piece, which includes a delightful exhibition of the "Madras Bhashai" can be watched here.

PERAMBUR AND CHOOLAI

THE DEVELOPMENT OF NORTH MADRAS

This article is about the contiguous areas of Perambur and Choolai, where the industrialisation of the city began and to which North Madras owes its development to a great extent.

Choolai is synonymous with the Buckingham and Carnatic Mills, popularly known as the B&C Mills. The Buckingham Mill Co. was floated in 1876 and went on stream as a spinning unit in 1878 with 300 employees. With the demand for textiles increasing, more weaving capacity was added in 1893. The Carnatic Mills was floated in 1881 and went on stream as a spinning and weaving unit in 1884. Together, they made khaki drill and soon khaki became synonymous with the Company’s name. The mills also had the distinction of running the largest khaki dyeing plant in the world. The companies were amalgamated in 1920 with Binny’s managing the group and its entire workforce of about 14000 workers. The company fell in troubled times by the 1970s, which were compounded by the heavy floods of 1986. It was however kept running under pressure from the government, before being finally closed in 1996. A few bungalows built for the executives of the company still survive.

The oldest mill however built in South India was the Madras United Spinning and Weaving Company Mills or the Choolai Mills as they were popularly known, setup by the famous Bombay financier Seth Mooljee Jetha. Fully Indian owned and managed, the mills manufactured coarse varieties of cloth, being permitted to manufacture only that. A major strike in 1939 and the collapse of a tall chimney after heavy rain around the same time led to the closure of the mills. They were then bought by Sarder Inderjit & Sons of Delhi, who then sold it to M/s Edward Textiles, a Marwari firm based in Mumbai. They thus came to be known as the Edward Mills. The mills however could not be restarted as the government seized the mills in lieu of huge tax arrears by the company and sold the machinery. Today, the Food Corporation of India godowns stand in the place where the mills stood.

It was thanks to the B&C Mills that India’s first organised Labour Union was formed. In 1918, the Madras Labour Union was formed comprising mainly of the workers of the company. At the forefront of the movement were G.Selvapathi Chettiar, T.V.Kalyanasundaram Mudaliar and B.P.Wadia, the famous labour activist. The building in which the labour union was started still stands in a dilapidated state on Strahans road. Selvapathi Chettiar and B.P.Wadia are commemorated in the area by parks named after them.

Sidhalu road is an important thoroughfare in the area. This road commemorates G. Sidloo Chetty, a prominent and affluent businessman who dealt in indigo under the name Sidloo Chetty and Co. He was one of the founding members of the Madras Chamber of Commerce in 1836. His son, Gazulu Lakshminarasu Chetty was an early Madras activist and was involved in a number of public causes. He was the founder of the Madras Native Association, a body to take up the grievances of the public with the Government and also was the first Indian to own an English newspaper.

The railway connections of Perambur go back to 1856, when the Carriage and Wagon workshops of the Madras and South Mahratta Railway were set up, dealing with BG coaches, wagons and steam locomotives. The locomotive maintenance work was transferred to the Perambur Loco Works which was set up in 1932. Stephenson was responsible for the establishment of the Loco Works and a road named after him exists even today in the area. The Integral Coach Factory (ICF) was established in 1953 with Swiss collaboration. Production started in 1955 and the first indigenous coach was rolled out in 1956. Today, it is the main supplier of coaches to the Indian Railways. The Perambur Railway Museum was founded in 2002 on the premises of ICF and has a rich collection of steam engines and coaches showcasing the heritage of the railways.

Avadhanam Paupiah road in Choolai is named after the colourful dubash, Avadhanam Paupiah. A Brahmin from Nellore, Paupiah began his career as a Sea Customs clerk and was entrusted with the collection of the customs duties. He made optimum use of his employment and amassed a lot of wealth, not always being straight in his dealings. He was greatly aided by the fact that he was a very close confidant of the Holland brothers, Jon and Edward (Jon being Governor of Madras and Edward being the Third Member of the Governor in Council). But his luck ran out with the removal of the Holland brothers from their posts on charges of misappropriation and financial impropriety and he was imprisoned for three years and imposed a fine of 2000 pounds for his misdemeanours by a commission that was constituted to investigate into his activities. He was also charged with forgery in the case of forged bonds of the Nawab of Carnatic. A character in a novel titled “The Soldier’s Daughter” by Sir Walter Scott was modelled on Avadhanam Paupiah.

Amongst the famous education institutions in Perambur are the Jamalia Arabic College and the Railway Mixed Higher Secondary School. The Jamalia Arabic College was started in 1900 by Jamal Mohideen Rowther as a Madrasa and was developed by his son Jamal Mohammad into a college affiliated to the Madras University. This is the only institution in India teaching Arabic and Islamic sciences in Arabic. The Railway Mixed Higher Secondary School was formed in 1891 exclusively for railway employees and had European, Anglo Indian and Indian students.

This article was published in the latest issue of Namma Chennai, the bilingual monthly dedicated to the city.

CHARLES LOCKYER'S ACCOUNT OF FORT ST.GEORGE

“An Account of the Trade in India” (1711) is a wonderful travelogue containing accounts of the journey undertaken by Charles Lockyer across various coastal settlements in India and elsewhere. Lockyer first arrived in Madras in 1702 on board the “Colchester” and worked as an Assistant to the Accountant for eighteen months. He then resigned his service to pursue a life of active voyaging. His account of Fort St.George, which forms the first chapter of his travel experiences, is one of the early descriptions of the settlement and makes for interesting reading.

Fort St.George, Lockyer notes, was a port of greatest consequence to the East India Company for its strength, wealth and the returns made in Calicoes and Muslin. He describes The Citadel or the Inner Fort as lying N.N.E and S.S.W in the middle of the English Town, with four large bastions making the corners on which with the curtains were fifty six guns and a mortar. The two gates, Western or the Main Guard gate and the Eastern gate were manned by thirty soldiers and six soldiers and a corporal respectively. The keys were every night delivered to the Governor or in his absence, the Chief in Council. The Black City called “Madrass” and sometimes by the Moors as “Chinnepatam” joined the Fort Northwards.

The streets were straight and wide, paved with brick on either side, but the middle was deep sand for carts to pass through. Where there were no houses, causeways with trees on either side were found and this made it pleasant for those who otherwise would have had to walk in the sun. Out of the five gates of the Fort viz., Sea, St.Thomas, Water, Choultry and Middle gate, the St.Thomas and Choultry gates were opened for passengers at any time of the night “if unsuspected” but the other three were closed at 6 PM. The other public buildings mentioned in the Fort are the Town Hall, St.Marys Church, College, New House and Hospital.

Lockyer then gives an account of the early judicial system in force. According to the City Charter by which the Corporation came into existence in 1688, the Mayor and the Aldermen exercised the ultimate authority. A court of six Aldermen was held twice a week in the Town Hall, which decided the quarrels, small debts and other business. When the Europeans were not satisfied with the Mayor’s justice, they appealed to a higher court. Here, a judge appointed by the Company presided on the report of a jury and gave a final decree. When a man died in debt, his goods were seized by the Court of Admiralty and auctioned off after notice of the same was given by a Bill at the Sea Gate. The proceeds were divided amongst the creditors. The effects of the Debtors who ran away were dealt with in the same manner. Besides these, five justices of the Choultry from the Council or chief Citizens presided over controversies concerning Indians. These sessions were held twice a week.

The customs duty on goods imported and exported formed a major portion of the revenue. The Sea Gate customs was 5% on all goods brought by sea. The fee for goods valued at not more than 20 pagodas was three fanams while it was six fanams for goods valued between 20 and 1000 pagodas. For goods valued more than that, the fee was twelve fanams. The fees collected were divided amongst the Custom Master, the Head Searcher and the Receiver. A duty drawback of 10% in respect of goods such as wine, beer, looking glasses and flint ware was also provided to owners who produced their invoices and paid customs duty for the quantity mentioned therein without examination. The Land Customs rate was 2.5% on all goods brought in from the Country. They suffered 2.5% duty again at the time of export from the Sea Gate. Goods which paid the full duty of 5% in this process were exempt from paying duty at other English ports in India under a certificate from the Custom Master. The hire charges for the masulah boats used to transport the goods from the Madras roads to inland was six fanams or eighteen pence a trip.

The Company earned a rent of 1100 pagodas per annum from letting out of the village of Egmore, 120 pagodas per annum on letting out of the Old Gardens and 250 pagodas per annum from Quit Rent. Other profitable sources of income for the Company were the Tobacco, Beetle and the Arrack farms. The Tobacco and Beetle farm were let out on lease for 8000 pagodas per annum while the income from the licence of the Arrack farm was 3600 pagodas per annum.

The Governor was paid a salary of 200 pounds per annum with a gratuity provision of 100 pounds. The Chief amongst the six councillors was paid 100 pounds per annum, the third of the place 70 pounds, the fourth 50 pounds per annum and the rest, designated as Senior Merchants were paid 40 pounds per annum. Other servants included two junior merchants at 30 pounds each per annum, five Factors at 15 pounds each per annum and 10 writers at 5 pounds each per annum. There was also one judge who was paid 100 pounds annum and the Attorney General who was paid 50 pagodas per annum.

Lockyer describes the St.Marys Church as a “large pile of arched building, adorned with curious carved work, a stately altar, Organs, a white copper candlestick, very large windows etc.”, which “rendered it inferior to the Churches of London in nothing but bells”. The Church stock included Orphans money, which was money bequeathed by wealthy dying parents to their children, making the Church as the guardians. The Church let out this money as advance and earned about 7% per annum which was then distributed to the beneficiaries in proportion to their estates. The Church undertook prayers twice a day, with the Sunday worship being most seriously observed. Between 8 AM and 9 AM, the Bell was rung, announcing that the hour of prayer was drawing near, hearing which the entire Company of soldiers assembled at the Church door. The Church also ran a free school, where children could learn to read and write.

The College, which was the old hospital, was the residence of “seven or eight hopeful gentlemen”. Amongst them, the Governor made the one with the greatest experience and merit as the Overseer, whose duty it was to regulate all disturbances. The building was two storeys high with a paved court, two large verandas and about sixteen small rooms. The New House was the soldiers lodgings and according to Lockyer, the “scene of many a drunken frolick”. It fronted the Main Guard and had a strong Battery on the other side. One Company at a time slept in it, of which one Corporal and two soldiers walked the streets every hour in the night to suppress disorders and apprehend “any who cannot give a satisfactory account of themselves”.

The Hospital, which joined the New House by the Water Gate to the Northward, was a long building with a paved court before it. At one end of the court was the plaster room and at the other, the apothecary’s shop. The Governor’s lodgings took up one third of the inner fort. The building was three storeys high, with the accountants and secretary’s offices being one storey up. The Consultation room was a storey
higher.

The inhabitants, Lockyer notes, “enjoy as perfect health as they could do in England”, with only the heat in summer being the greatest inconvenience. The Governor during the hot winds retired to the Company’s new garden for refreshment, which was a delightful place with its “costly gates, bowling green, spacious walks and teal pond”.

The Governor, Lockyer notes, seldom went abroad with less than “three or fourscore Peons armed, besides his English guards to attend on him”. Two Union flags were also carried and the entire retinue was accompanied by Country music enough to frighten a stranger into belief!! Two Dubashes also accompanied to fan him and drive away the flies which were the greatest nuisance.

Most of the gun powder in use in the garrison was made at the Island. The powder however did not have the force of the ones manufactured in England. The reason for this according to Lockyer was not as much the quality of the ingredients available as the lack of skilled people to carry out the job. The Company, Lockyer notes, did not have “a single English carpenter, smith, joiner or other artificer in the city who knew half his trade” and had to depend on the natives of the Black Town.

The arrival of a European ship brought about lots of people thronging about the Sea Gate, some laying wagers, others waiting for masters and others just there to satisfy their curiosity. The goods were seldom cleared the first day, which was sufficient only to secure the ship, send the Company’s packets ashore and get refreshments for the men. The goods that were the best received were lead, wine and beer in casks and bottles, ale, cheese, cloth hats etc.

INCIDENTS THAT SHOOK MADRAS - 1: THE PEOPLE'S PARK FIRE

The People's Park, thrown open to the public in 1859 was the brain child of Sir Charles Trevelyan, who was the Governor of Madras between 1858/59 and 1860. The park was 116 acres in size and its splendid garden space, with ornamental palms and ponds, well laid-out walks and flower beds, created in its entirety the largest green lung in the city. It had 11 ponds, 5 ½ miles of road and walkways, a bandstand, a public path and two tennis courts. The Madras zoo, founded in 1855 in the Museum premises moved to the People's Park in 1863 and remained there for more than century, before shifting to Vandalur in 1985. Other landmarks that later came up on the grounds of the People's Park were the Victoria Public Hall in 1887, the Moore Market in 1898 and the South Indian Athletic Association in 1902.

The Park held its first Fair in December 1878.It was managed by a committee of Municipal Commissioners and commenced on 30th December 1878. The Administration Report of the Madras Municipality for 1878 states that the Park was decorated with flags and arches ornamented with transparencies were erected at the entrances. Several booths were erected for shows and performances of various kinds and for the sale of refreshments and fancy articles. Bands from various parts of the Presidency participated in the fair, making it a gala affair. On the evening of 1st January 1879, an estimated audience of 20,000 people turned up to watch a fine display of fireworks sponsored by Cunniah Chetty. The success of the event meant that the Fair became an annual affair, being held in the last week of December and first week of January every year.

The year 1887 marked the Golden Jubilee of the reign of Queen Victoria. A series of celebrations were planned across the country to commemorate the occasion. Madras Presidency was no different and plans were afoot to celebrate the occasion in a grand manner. Keeping in view the significance of the year and the wishes of the donor who funded its construction, the Town Hall for Madras, which was inaugurated later that year, was named Victoria Public Hall. It was therefore only natural that leading up to the celebrations, the 1886 Fair of the People's Park was dedicated to Queen Victoria and was to be celebrated on a large scale, extending to six days. But what transpired instead was a nightmare.

The fair, which commenced in the last week of December 1886, took place in the band stand enclosure of the park which was filled with booths made of wood and cadjan roofs. There were four entrances to the enclosure and entrance regulated by admission fees. On New Year's Eve, there were around 6000 people inside the band stand. In attendance were the Commander In Chief, Lady Arbuthnot and the Prince of Travancore besides other dignitaries. At around 6 PM, a booth on one side of the enclosure caught fire and simultaneously, a booth directly opposite was also up in flames. Needless to say, panic set in and the people rushed to the four entrances, where they were met by the crowd coming in, caught unawares by the fire. Two entrances were completely jammed and there was a stampede. The fire darted from point to point and soon the casualties began to mount. An estimate early next morning was to reveal a figure of around 250 dead bodies. Around fifteen of them whose clothes were engulfed by the fire plunged into the tank close by and drowned. The fire engines kept in readiness were pressed into action in less than half an hour from the outbreak of the fire, but water was scarce, even for the purpose of alleviating the thirst of the injured.


The public jumped into action to rescue as many people as possible and succeeded in saving many lives. They were aided in the rescue operation by the police, soldiers and the many European visitors. The bodies were sorted quickly and those who had life left were carried to the General Hospital across the road where the apothecaries, C.Trustwin, Hellein, Judge, Guruswami, Kenny, Pope and Harris aided by a large body of medical students worked through the night to alleviate the sufferings of the victims. The cotton mattresses in the hospital were ripped open to supply dressing for the wounds and the chemists across the city sent in all the oil they had in store, which was promptly converted by the gallon into carron oil. Many doctors of the city rushed to the General Hospital to help in the operations. The large crowd that had gathered at the hospital also chipped in with their mite. In all, it was a tremendous show of humanity and public spirit that helped deal with the crisis.

Messages of condolence and grief were received from the Queen and the Viceroy. An appeal was put up by Rajah Sir Savalai Ramaswamy Mudaliar, who was then the Sherriff of Madras to collect funds and form a committee to provide assistance to the affected. There were some like Dr.William Muller, the Principal of the Madras Christian College who was present on the scene, that the fire seemed to be the handiwork of miscreants.

The New Year thus opened on a sombre note, with affected families grieving the the loss of their loved ones. The bodies of those burnt beyond recognition were buried at midday after a formal inquiry by Mr.Norton, the coroner. The only evidence taken was that of a police inspector, Abdul Salam, who was present at the scene of the fire. The jury returned a verdict of death by suffocation and burning and suggested that the coroner send the government a list of people who had volunteered their services in the rescue work. At the St.George’s Cathedral, the Archbishop delivered a solemn sermon where he referred to the fire and its results as an example of the uncertainty of life. Mendelssohn’s funeral march was played at the end of the service as the entire city mourned its dead.

The Commander In Chief, who was in the enclosure when the fire broke out, visited the scene of fire in the morning. Later in the day, the Governor of Madras, Sir Robert Fowler and several members of the Council also visited the fire. They also visited those being treated at the General Hospital and offered their sympathy.

The Prince of Travancore had a narrow escape, as he was carried away by his Jamedar on his shoulders and pushed out of the booth. The Jamedar in the process was thrown to the ground as his sword hilt was caught in the scaffolding near the gateway. He suffered burns on his head and face and was amongst those who were admitted to the General Hospital.

A thorough investigation was undertaken by the police to ascertain the origin of the fire. They concluded that it was a pure accident and that no handiwork of miscreants could be detected. The fire had lasted for less than 15 minutes but by which time twenty six booths were burnt. Most of the casualties were the result of sheer panic. It was also found that most of the grass plot in the enclosure had been untouched and the ornamental flowers and shrubs had not even singed, which meant that a lot of room was available for the people to avoid the fire as it darted from point to point, and that a bit of control would have saved a lot of lives. The total casualty was reported to be 402 dead.

The resilience of the city was on full display as the celebrations of the Golden Jubilee were held on a grand scale in February, just a month after the great disaster. The incident also did not seem to have deterred the orgnaisers from continuing to hold the Fair, as it was an event that was continued to be held right up to the 1970s.