Son of a missionary and minister who took his family to India, Canada and the U.S. and who was ordained in three different churches–Wesleyan, Methodist, and Presbyterian–Edward Jenkins had stronger Protestant and anti-imperialist roots than perhaps any other Victorian radical, which is why he might be considered 19th Century England’s closest counterpart to Jonathan Swift. And like Swift, he used the infant as the instrument for his most savage satires.
Jenkins’ first book, Ginx’s Baby: His Birth and Other Misforuntes (1871), used its title character–the thirteenth child both to Mr. and Mrs. Ginx, a London navvy and his wife–to mock the pretensions of religious charities and high-minded reformers, who claimed to serve the poor but more often used them to serve their own interests. Ginx, his wife, and all their children manage to fit into one tiny room filled mostly with on “thirteenth-hand” bed:
When Ginx, who was a stout navvy, and Mrs. Ginx, who was, you may conceive, a matronly woman, were in it, there was little vacant space about them. Yet, as they were forced to find resting-places for all the children, it not seldom happened that at least one infant was perilously wedged between the parental bodies; and latterly they had been so pressed for room in the household that two younglings were nestled at the foot of the bed. Without foot-board or pillows, the lodgment of these infants was precarious, since any fatuous movement of Ginx’s legs was likely to expel them head-first. However they were safe, for they were sure to fall on one or other of their brothers or sisters.
Although the Ginxes, like good Victorian subjects, take their lot in life for granted (“They regarded disease with the apathy of creatures who felt it to be inseparable from humanity”), the latest Ginx is one too many, and Mr. Ginx considers drowning the newborn in the Thames as a solution. A crowd gathers, and a debate erupts among them as to where the responsibility for the situation lies. One man blames Ginx and his wife for having children when they couldn’t afford them and another wonders why “Parlyment” doesn’t provide better care for the poor. Finally, a nun intervenes and persuades a policeman to let her take the baby back to “the Sisters of Misery.”
There, the nuns consult with the Church authorities and soon little Ginx–now named Ambrosius–becomes the centerpiece of a campaign to encourage procreation as a means for creating more Catholics. This draws the wrath of Protestant churches, and an “Evangelical Alliance” forms to rescue him. They “favor of teaching him at once to hate idolatry, music, crosses, masses, nuns, priests, bishops, and cardinals,” and form a Committee of the Protestant Detectoral Union on Ginx’s Baby to determine the correct approach to the infant’s religious education. Unfortunately, after holding twenty-three meetings and releasing countless announcements, the Committee is forced to disband for lack of funds.
In the meantime, Mr. Ginx resorts to abandoning the baby on a shopkeeper’s doorstep, which then leads to his being placed in one poorhouse and then another. Now near death, the child is rescued by a visiting doctor and his case becomes a cause celebre in the press. The respective guardians of the two poorhouses go to court to determine which is at fault. The baby is returned to the Ginxes, who have given up any hope of surviving in England and decided to emigrate to Australia, and once again Mr. Ginx abandons him, this time on the doorstep of a political club in Pall Mall.
Here he comes to the service of the Radicals, who attempt to launch a debate in the House of Commons on the plight of the poor. However, the Minister for the Accidental Accompaniments of the Empire takes them by surprise by launching his own debate in the House of Lords. Though “he never seen the Baby, and knew nothing or very little about him,” this does not prevent him from delivering “an elaborate speech in which he asked for aristocratic sympathy on his behalf” and proposes a practical solution: send the child to Australia. Unfortunately, this motion runs afoul of the great economic authority, Lord Munibagge, who protests, “Ginx’s Baby could not starve in a country like this. He (Lord Munnibagge) had never heard of a case of a baby starving.” The Lords conclude that “there was no necessity for the interference of Government in the case of Ginx’s Baby or any other babies or persons.”
In the end, passed along from charity to charity, Ginx’s baby grows into a young and still hungry delinquent and decides one night to resort to his father’s first solution: he quietly jumps off Vauxhall Bridge and drowns himself in the Thames.
Several years after publishing Ginx’s Baby, Jenkins took another satirical stab at the inertia and hypocrisy of Victorian society through the instrument of a baby–this time in the form of the world’s tiniest baby, known as Little Hodge (1878). Weighing just over three pounds at birth, Little Hodges’ fame soon spreads: “Many visitors came to the workhouse — physicians, surgeons, comparative anatomists, and one or two social science philosophers.” They all come to the same conclusion: “that he was very small,” and “that he could not live.”
Unfortunately for Mr. Hodges, a farm laborer with eight other children, he does live, and, with his mother dead from childbirth, he needs to eat. Hodges turns to his landlord, then to his parson, then to his local poorhouse, and so on, finding all of them greatly concerned and utterly unable to help. When he tries to forage and poach to find some free food for his family, he’s brought up on charges. His plight inspires some of his fellow farm workers to form a union and revolt against the landowners, but this movement also fails to provide solution to the immediate problem of getting enough to eat. Hodge dies one night, probably murdered by his landlord, and his children are taken off to America by a Yankee philanthropist.
Like many other attempts to rework a fictional formula, the tone of Little Hodges seem tired and bitter compared to the gusto with which Jenkins skewered English society high and low in Ginx’s Baby. Where in Ginx’s Baby Jenkins pumped up his targets to exaggerated proportions before bursting them with quick jabs, in Little Hodges, mockery too often gives way to anger and sermonizing. One could trace a line from Swift to Kafka’s The Trial that passes through Ginx’s Baby; Little Hodges, though, is closer to Ten Nights in a Bar-room than anything in the way of lasting satirical literature.