Literature of Colonial South Asia: A Digital Archive

Summary of Cornelia Sorabji's "Sun-Babies: Studies in the Child-Life of India" (1904)

Cornelia Sorabji, “Sun-Babies” (1904) Summary

Cornelia Sorabji’s Sun-Babies: Studies in the Child-Life of India is a lightly ethnographic account of the diverse lives of Indian children under British colonialism, In her account, caste and religion are not merely background elements but central to how the children understand their world. Through a series of vignettes, Sorabji illustrates how religious rituals, mythological beliefs, and rigid social hierarchies dictate the daily routines and future aspirations of these "sun-babies". While the narrative is interested in examining the beliefs and voices of a series of Indian children, many of them from poor backgrounds, it notably does not depict European children in India in any detail. The British “Sahib” who runs the household is only described abstractly as a disembodied “Presence.” 

Overall, the purpose of the book appears to be to educate and entertain largely British readers. While Sorabji is clearly sympathetic to the poor and uneducated children in her narrative, this particular text is not especially motivated by a desire for reform or social change. 

The Hierarchy of Caste and Service

The book opens with Pagal [whose name literally means “crazy” or “mad’], a child of the gardener caste who seeks service as a punkah-puller. Pagal exemplifies how caste identity is established from birth, though at least some characters in her account are able to pull against fixed hereditary caste identity. Pagal: 

He was doing his own pleading, and this was not etiquette. "What is your name?" asked the Presence. "Pagal—the mad one," he replied sweetly. "And my caste, the gardener caste. But all are one to me,"—looking round with the gracious patronage of a Queen new come to Queendom, —"all are one. ... At what time should I attend upon my duties as body-servant to the Protector of the homeless. Command me, Presence." Now the imp showed in this the prescience of the diplomat. The Presence had indeed not come at any decision; but seeing a passing thought thus held and clothed in words, he re- cognised it for his own, and—" Come to-morrow," he said; "the punkah in my chambers is a light one: you shall pull it." "I am of the official household of the Presence," said the imp, tongue in cheek; hugging himself with joy, when the tum-tum's back was turned. 



Within the household of the "Presence" (the British Sahib), caste creates a complex social ecosystem. Sorabji highlights the friction between the official household servants and the "oddments of humanity" who seek patronage, all governed by the "net of custom". Pagal maneuvers through this world by weaponizing his understanding of custom, refusing to pay "dustoori" (tribute) to other servants because he secured his own position, thus placing himself outside the traditional cycle of servant exploitation.
Similarly, the Chota Chaukidar (the small watchman) views his future through the lens of his hereditary occupation. As the son of a night-watchman—traditionally a race of thieves—his life’s ambition is to follow in his father’s wake. 

A Chaukidar is a night-watchman. He is reported to have come of a race of thieves, and his chief use is to keep his old fraternity away from your house, for it would not be etiquette for them to thieve where an ex-thief guarded. He walks round the house o' nights, clearing his throat in a manner supposed to be peculiarly safeguarding, and making other hideous noises meant to impress you with a sense of his wakefulness. He also shakes the doors at intervals, and thumps along the verandahs with a heavy stick, and sings snatches of weird songs to enliven his own loneliness, and calls across to his friends in neighbouring gardens, and altogether does his best to dissipate any illusions you may have entertained about "the silence of the sleep-time." But, as I said, there is just that etiquette which protects you and your possessions, or protects them as a rule; for every now and again the Chaukidar does certainly let a thief or two run round your garden while he gives chase (" catch them, sons of foxes!"); and all the house is up and afoot, just to show you how useful he is, and from what he saves you. Well, the Chota Chaukidar, or small Chaukidar, was the son of this night-watchman of ours, and the child's great ambition in life was to be even as his father. He would sleep in the day that he might go the rounds at night. Very amusing was it to hear the pitter-patter of his small feet, and the feeble thud of his little stick, as he followed in his father's wake. 



Hindu Ritual, Mythology, and Folklore

For the Hindu children in the sources, religion is an immersive experience involving fasts, festivals, and mythology. The Chota Chaukidar is described as a "religious" who fasts to "win merit" for the Sun-God during an eclipse, believing that Rahu the Seizer is fighting the sun. Here is a passage illustrating the child’s religious beliefs and explanation of his decision to fast: 

Every eclipse of sun or moon was carefully noted by the Chota Chaukidar. He was in truth a "religious," as he had said; for, though but a child and exempt from the rigours of Hindooism, he fasted like any devotee. Turning indoors from my garden wanderings one morning, I found him his usual "fruitling." But, with hands clasped tight behind his back, he shook his head wistfully.

"So you care for mangoes no more?" I asked, surprised. "It is not so, Presence," he made answer, "but does not the Presence know that to-day Rahu the Seizer fights with the Sun, and I must stand by and fast and pray that the Sun may win, for if I would buy merit for him, even water may not pass my lips." Then would follow some long story of how Rahu stole the nectar of the gods, and was cut in twain by Vishnu, but revenged himself periodically, thuswise. When "the highest high," our Queen Victoria, was ill, in the same faithful way did my little Chaukidar fast "to win her merit." And the untoward issue never ceased to be a puzzle to him. But, like many other Easterns, he just does not believe in his heart of hearts that she did die. "The tale of her 'going out' was all a banawat, a wicked invention," he confided to me. One day he came to me with a difficulty. "Where does God live ?" he asked. "My brother says He lives in the sky; but I think He must live in the kitchen, for does He not feed us from day to day."


His worldview is populated by "magic men" who curse white ants and stories of winged ants as the emancipated souls of penitents.

The story of Piyari (Bhengi) focuses on the Guriya Mela (Doll Festival), a significant ritual where children beat and drown their dolls to symbolically drive away evil spirits. This ceremony is a prerequisite for entering a new stage of life, such as marriage; Piyari’s mother insists she drown her dolls so she carries no "evil spirits" into her wedding. Piyari’s spiritual life is further guided by an "old mad priest" (Guru) who teaches her about the "Shining Ones" and the "House of Love," emphasizing a mystical path that avoids the "outgoing door" of darkness.

The naming and birth ceremonies for Uma further illustrate how religious beliefs shape the thinking of the Hindu characters in Sorabji’s book:

Four little ceremonies preceded Uma's birth. The fifth was performed on the day when she made her primal protest against fife. It was an interesting ceremony this — the Brahmins of the Maratha country called it the Birth Ceremony. Uma's father was fetched by an excited old grandame that he might name the child. "Give it me," he said, and he rocked it awkwardly while it yelled. He was waiting inspiration. Suddenly, a thought — and in his satisfaction with himself he nearly dropped the little bundle, and then clutching at it again, nearly put it down on the iron pan of red-hot coals where its little wrappings were a-warming. But the grandmother saved it in time, and he ran to his wife's bedside. "Mother of my child, I know what name we must give it," he said, and he whispered in her ear. For, till the twelfth day, of those two alone and of the gods is it the secret. So they hid away in their hearts that beautiful name—"Uma." So was called the wife of the god Shiva, the Destroyer. The mother would have named her child after the wife of the Preserver, had she chosen; but her lord explained that in this wicked world it was more necessary to destroy than to preserve. 


 These ceremonies involve specific protections against the supernatural, such as marking walls with a red hand to scare demons and observing whether a baby cries during the name-whispering. If the baby cries, it is believed a dead ancestor has been reborn in the child, bringing with them "senile habits" and "unrequited sins". Uma’s life is also dedicated to Shiva, her patron saint, represented in her garden by a "nandi" (toy bull).

Zoroastrianism and the Path of Light

The chapter on Mera, a Parsee (Zoroastrian) child, offers a contrast to the Hindu and Muslim narratives by focusing on the "Thread Ceremony" (Navjote). 

When "her clock had sounded eight," as she herself would have put it, the old family priest declared Mera fit for the thread ceremony. This is the formal initiation into Zoroastrianism; a child may then wear her " sudra,"—a dainty white embroidered net garment,—and her "kusthi," the fine thread made of lambs' wool: seventy-two silken strands for the names of the seventy-two angels, and the seventy-two chapters of the sacred book—a strand a name or chapter. The wives and mothers of the priesthood wove it, sitting in their doorways, their faces to a rising or a setting sun, praying many prayers for the unknown "devotee" who might use it. "Let there be light," they said, "on the new little life as it comes: and light, a very flood of light, as it goes. And for the times of darkness let there be memory of the light—memory and faith—the glad assurance that the light will come again, even as it came once . . . light, light and warmth and life." . . . Always they pictured the kind of child who would use the "thread," and the world of shadows being very close to these daughters of the Sun-God, they would "prevent" it with thoughts of good. "Yes! she told the lie, she forgot: what would you, a child? But when this little thread slips through her fingers she will remember her vow of truth.”


This ritual is the formal initiation into the faith, where the child is invested with the sudra (a white net garment) and the kusthi (a seventy-two strand lamb’s wool thread). The sources emphasize the symbolism of these items: the white garment represents purity and truth, while the thread acts as a sacred girdle to confine "thought, word, and deed".

Mera’s religious education centers on the dualistic battle between Ahuramuzda (the Good God) and Aharman (the Evil One). Her "Zoroastrian conscience" leads her to interpret mundane events—like a carriage passing the drive—as manifestations of God’s will. Her story highlights how the Parsee faith emphasizes rectitude and confession, requiring the child to renounce "evil words and thoughts" and embrace a spirit of "perfect rectitude".

Fringe Communities and Cross-Cultural Festivals

Sorabji also explores the lives of those on the religious and social fringes, such as Fleetfoot and Khush-
gulu. Fleetfoot, an orphan from the West, is a "house-mother" to a gang of gutter-snipes, yet she still observes the "water of oblation" and worships the gods of the Maratha country. Khush-gulu, an albino girl, and her brother are described as "casteless mongrels" living near the barracks. Because they are casteless, they "might eat from any hand," a significant departure from the strict dietary laws observed by other characters like the Chota Chaukidar.

Despite their social status, these children participate in the Feast of Lights (Diwali). This festival is depicted as a time for the worship of tools, scaring away poverty-demons with corn-sieves and brooms, and honoring the Goddess of Wealth through gambling and dice-throwing. The boy’s retelling of the legend of a Queen saving her husband from Yama (the King of Death) underscores how the "dead come back" during this festival, necessitating the lighting of lamps to guide spirits.

Conclusion

In Sun-Babies, caste and religion are the primary lenses through which Indian children navigate existence. Whether it is Pagal’s adherence to "custom" to maintain his dignity among servants, Uma’s complex birth rituals, or Mera’s Zoroastrian initiation, religious and social identity is presented as inescapable. Sorabji portrays these children not as passive recipients of tradition, but as active participants who find joy, discipline, and meaning within the strictures of their respective faiths and castes. 

 

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