use Complex vocabulary and sentence structures, including varied punctuation and transition words and Tone must be in active voice, informative and authoritative and writing style is coherent, consistent, and organized and the sentences are logically structured to create a clear and progressive flow of ideas Write an abstract and conclusion as in research paper style for the below writing


Children have indeed appeared in literature since ancient times as characters; however, their voices have been, by and large, ignored or dismissed blithely. Specifically, within the realm of English literature, instances of child narrators are pretty uncommon. In pre-romantic literature, children hardly feature in dialogue or grow into full-fledged “human beings.” Adult literature appears to neglect them “benignly” like other “domesticated” or marginalized figures. Greek and Roman writers seldom addressed children as a subject, and when they did, they nearly always described them as “subrational, subhuman creatures” outside the purview of “literary interest.” Similarly, during the Renaissance period, literary representation of children was a rarity, as Elizabethan, Jacobean, and Restoration dramatists and poets, akin to their antecedents in ancient Greece and Rome, did not view the “child as a suitable lens” through which to comment on the human condition.
 Despite this, a select few, such as Shakespeare, did include children in his works. However, many scholars concur that the bard’s utilization of children in his plays, such as the little princess in Richard III and the children of Titus Andronicus, was not for the purpose of exploring childhood or child itself but rather for the dramatic effect of highlighting the feelings and emotions evoked by their presence. 
In reality, it wasn’t until the twentieth century that authors began to make “representational attempts to capture the intrinsic qualities of a child, its point of view, its voice, its language, and its rhythms.” However, the seeds of this paradigm shift had been sown much earlier, during the Romantic era, when writers began to celebrate childhood in their works. Writers such as Wordsworth and Blake, for example, “used childhood as a critical criterion from which the fallen state of modern society could be measured and condemned - and as a divine resource through which it could possibly be redeemed.” Adrienne E. Gavin writes that Romantic poetry inaugurated a novel construction of childhood as a “desirable” and “distinct” state from adulthood, an “idealized, clear- visioned, divinely pure, intuitive, and imaginative stage of life” that adults yearned for but had lost, and which they sought to recapture in literature. Thus, the Romantic writers, through their depiction of children as “creatures of deeper wisdom, finer aesthetic sensitivity, and a more profound awareness of enduring moral truths” 
In adult-focused Victorian literature, childhood representation evolved significantly, moving away from the idealism of the Romantic period to a portrayal characterized by “vulnerability, powerlessness, and subjugation to adult authority.” Such authority manifested itself in various forms, including “emotional” and “physical” abuse, societal apathy, “illness,” and premature “death.” Eschewing the notion of an “angelic Child,” Victorian realists situated their child characters within a “specific place and time,” highlighting how environmental factors could profoundly impact-and, in instances, distort-their development. In the sphere of Victorian Literature in particular and English Literature in general, the literary corpus of Charles Dickens (1812-1870) stands out for its vivid portrayal of childhood and scrupulous examination of the diverse voices permeating society. In its true sense, Dickens was the first to unveil the potential of incorporating child characters as crucial elements in narratives designed for adult consumption, a concept heretofore unexplored by preceding novelists. As Peter Coveney writes, “the child was at the heart of his interests, at the centre of the Dickens world.
Scholarly discourse regarding the use of child narrators in adult literature commonly attributes the inception of this technique to Mark Twain’s renowned work, The Adventures of Huckleberry Finn (1884). According to the translation of Schneider Helena’s work by Linda Steinmetz, Twain’s Huckleberry Finn holds the distinction of being the first literary composition that consistently renders a child’s perspective throughout the entire narrative. As pointed out earlier that prior to the advent of The Adventures of Huckleberry Finn, the assimilation of child characters into the broader thematic tapestry of literature had already been accomplished by Charles Dickens in his works such as David Copperfield (1849) and Great Expectations (1860). However, Charles Dickens did not undertake any extensive literary exploration in his novels to present a continuous and comprehensive representation of the world as perceived by children. Rather, he opted for a technique that involved amalgamating an adult narrative voice with the recounted viewpoint of a child character. For e.g. in David Copperfield, the eponymous protagonist’s bildungsroman unfolds as a retrospective narrative, imbuing the text with a duality that intersects juvenile naivete and critical adult scrutiny. Again in Great Expectations, Pip’s first-person narrative voice presents a bildungsroman imbued with a child’s wonder and confusion.
Twain’s incorporation of Huck Finn as a child narrator signifies the advent of a new epoch in the literary investigation of childhood.
Mark Twain’s Huckleberry Finn stands as a tour de force in the realm of American Literature, exemplifying a skillfully crafted bildungsroman embedded within a broader social commentary.
From the enchanting fairy tales of the Romantic period to the more grounded narratives of Victorian realism, the emergence of “psychology” as a discipline in the early twentieth century granted new levels of sophistication and insight into the genre of child-centered narratives. As Gavin writes, “the rise of Modernism, and wider knowledge of Freud’s theories shifted literary portrayals of childhood in the 1918–39 interwar years away from Edwardian idylls towards greater concern with the psychology and sexuality of child characters.” James Joyce’s seminal work, A Portrait of the Artist as a Young Man (1916), is a prime example of literature investigating the human psyche through a child conscience. In this ground-breaking novel, Joyce meticulously chronicles the protagonist Stephen Dedalus’ journey toward self-discovery and artistic autonomy.
The dawn of the twentieth century was a watershed moment for literature. As the first shots of World War I reverberated across Europe, the reflective canvas of artistic expression took an abrupt and cataclysmic turn. As the guns fell silent and their echoes dissipated into the annals of history, the inexorable imperative for writers to expose the visceral nightmares that lingered in the wake of the “war to end all wars,” heralded the emergence of a new form of literary maturity. In fact, the twentieth century has rightly been described as the “century of the child,” as this period witnessed a plethora of literary texts that represent the child’s voice, identity, subjectivity, and experiences with unparalleled vigilance, insight, and empathy. The propensity to view the world through the eyes of a child bespeaks, in a manner perhaps tinged with nostalgia, a longing for innocence and purity juxtaposed against a world that had, in the words of Matthew Arnold, “neither joy, nor love, nor light, nor certitude, nor peace, nor help for pain.” The advent of the World War brought with it a cataclysmic rupture in the fabric of the existing European social and cultural order, leaving in its wake an irrevocable transformation of the notions of self, identity, and nationality. Amidst the searing disillusionment and profound existential malaise that pervaded the subsequent decades, the figure of the child emerged as a compelling motif borne out of a nostalgic yearning for the lost innocence and purity of a prelapsarian past. In essence, the cult of the child became a response to an increasingly disillusioned and fractured society and a defensive reaction to a sense of cultural disruption. As we embark on a journey through the world of child narrators in twentieth-century novels, we are met with a vast and diverse array of literary works. Ranging from the troubled journey of Holden Caulfield in The Catcher in the Rye (1951) to the mysterious atmosphere permeating The Painted Bird (1965), the breadth of these stories is both vast and compelling. Harper Lee’s To Kill a Mockingbird (1960) presents a series of revelatory fragments addressing themes of racism and injustice in the American South, while Patrick McCabe’s chilling tale, The Butcher Boy (1992), explores the harrowing effects of mental illness on a young boy grappling with a turbulent upbringing and external pressures. Shifting to the more light-hearted, yet moving narrative of Paddy Clarke Ha Ha Ha (1993), readers are enveloped in the intricacies of childhood experiences- joys, challenges, and complexities of growing up. And Saleem Sinai in Midnight’s Children (1981), masterfully weaves his personal journey with that of India’s historical transitions, chronologically coinciding with his birth at midnight on the country’s epochal day of independence from British colonial rule.
While the level of success varies across these narratives, it is noteworthy that Salinger, in particular, demonstrated remarkable prowess in crafting a distinct child narrator, a narrator who is not interested in talking about his “lousy childhood” or his parents’ occupation or his “whole goddam autobiography” dismissing such topics as mundane and reminiscent of “all that David Copperfield kind of crap.” Instead, from the very opening of the novel, “If you really want to hear about it,” Holden sets a sort of self-conscious, unapologetically casual and distancing narration challenging the conventions of adult society and “the reader’s expectations and even his desire to know the truth.” Woven throughout the text is Holden’s contempt for “phoniness,” his fervent yearning for a return to innocence- an idyllic, bygone era when life was uncomplicated and guileless. In the years that followed the novel’s publication, numerous authors embarked on a quest to capture the very essence of their own “sorrow king” by emulating Holden’s raw emotions, cynical worldview, and compelling narrative voice. One narrator who bears a striking resemblance to Holden is Stephen Chbosky’s Charlie in The Perks of Being a Wallflower (1999). Although Holden is characterized by cynicism and bitterness, Charlie is more introverted and acquiescent; nevertheless, like Holden, Charlie is an introspective, sensitive, and intelligent teenager laden with a deep sense of disillusionment. Similarly, Sylvia Plath’s renowned semi-autobiographical novel, The Bell Jar (1963), hunts through the emotional turmoil and psychological afflictions experienced by its homodiegetic girl narrator, Esther Greenwood. Often considered the “feminine counterpart” to The Catcher in the Rye, the novel captures the complex challenges faced by an intelligent and ambitious young Esther caught in the throes of indecision, struggling to find her place in a world riddled with societal expectations and norms.
In recent years, the child narrators have established a robust presence in the literary market, capturing the interest of a diverse and discerning audience which can be observed in the growing number of publications and scholarly works devoted to the subject: Mark Haddon’s The Curious Incident of the Dog in the Night-Time (2003), Stephen Kelman’s Pigeon English (2011), Matt Haig’s The Dead Fathers Club (2006), Annabel Pitcher’s My Sister Lives on the Mantelpiece (2011), Emma Donoghue’s Room (2010), and Jonathan Safran Foer’s Extremely Loud & Incredibly Close (2005) are only a few examples of novels with child narration. No longer subscribing to the homogenized portrayal of childhood as a linear progression from naivete to enlightenment, contemporary writers have excavated the profundities of the child’s mind. The romanticized idea of the innocent, untainted child has gradually given way to a more multifaceted conception that recognizes children as dynamic social agents, capable of wielding power and knowledge. Today, children are no longer seen as just miniature adults or predominantly innocent or naive creatures but as “knowing, manipulative, destructive, and sexual beings.” Matt Haig’s The Dead Fathers Club for example introduces eleven-year-old Phillip as haunted by his father’s ghost, urging him to seek retribution for a supposed murder.
Instead of adhering to a linear narrative of childhood as a progression from “innocence to experience, from ignorance to knowledge, and from dependency to autonomy,” contemporary research has shifted its focus toward an exploration of the ways in which child “is shaped by the power dynamics of the generational order.” (Dinter and Schneider, 36) Mark Haddon’s novel, The Curious Incident of the Dog in the Night-Time is a case in point here. The novel introduces us to a strikingly original and empathetic variant of the child-narrated narrative form, as its protagonist, fifteen-year-old Christopher Boone grapples with autism spectrum disorder. Emma Donoghue’s Room, on the other hand, offers a startling incarnation of the child-narrated narrative, providing the reader with an intense and stark portrayal of childhood captivity and trauma. Similarly, Oskar’s courageous journey in In Extremely Loud & Incredibly Close through the five boroughs of New York City in search of the lock that matches a mysterious key left behind by his father symbolizes an earnest attempt to reconcile a world ruptured by untold pain and devastation. 
Thus, we see that modern works of literature break away from the traditional ideas of childhood as simply a stage of life. Instead, they delve into the factors, motivations, and struggles that shape its cultural creation. (Dinter, Introduction, 2020) Basically the change reflects a broader cultural shift where children are increasingly exposed to the adult-level consumer world, becoming consumers themselves. The ease at which children today can access information in various domains once deemed inappropriate or unsuitable for them is unprecedented. The advent of technology and the ubiquity of globalized media networks have enabled these young individuals to become active participants in their own socialization, simultaneously empowering them with knowledge and insight as Sandra Dinter says, “Child protagonists” or narrators “have probably never been as diverse as they are today.” (3)