Microsoft Word final-current Developments at the Intersection of British Children-online-version doc

5.4.1
 
The traditional child hero 
First of all, a hero can be defined as the main character in a literary work. In this 
quality, the term does not imply a specific feature but rather the function of that character 
within the work. However, traditionally the term “hero” is associated with more subjective 
matters, namely the personification of positive values and ideals embodied by a main 
character. In this study, the term “hero” comprises both of these aspects. Obviously the heroes 
are the main characters in a fantasy novel, yet they cannot be reduced to a mere function. 
Rather, they fill it with charisma and with emotions because they are – the exception proves 
the rule - sympathetic figures that carry the hopes not only of their community but also those 
of the readers, for whom they are a role model. One main aspect of the hero is their courage 
which distinguishes them from their fellow human beings and allows them to accomplish 

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tasks other people would shy or even fail at. Further qualities a traditional hero is associated 
with values such as altruism, discipline, physical strength and success.
The average age of the traditional child hero in British fantasy novels for children is 
that of a schoolchild, with Christopher Robin and Alice as their most famous representatives. 
Child heroes also function as the main character of a fantasy novel, but first of all they 
address the emotional level. Since the juvenile readers experience a comparable phase of 
search and orientation, the visible parallels to fantasy heroes can facilitate coping with their 
own situation. Being corroborated by the hero’s fate, child readers can find support and 
eventually regain their stability.
What makes child heroes special is the fact that they are not yet adults. Therefore 
typical values of a grown-up fantasy hero such as discipline, experience of life or physical 
strength cannot possibly be transferred unaltered to child heroes. Discipline is something they 
are still in the process of learning, experience of life and being a child tend to be mutually 
exclusive and physical strength is not one of their assets, as a child’s body has not yet fully 
developed.
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Hence they are generally considered weak, which is why independent decisions 
are often taken away from them. For this reason traditional child heroes need to be separated 
from the influence, authority and protection of their parents or legal guardians so as to be able 
to experience adventures. Frequently it is for the first time that they have to fend for 
themselves and that they are confronted with an adventure. Without weapons, child heroes 
must rely on other means of defence. As Alice proves, wit, presence of mind, inventiveness, 
freedom from prejudice, sense of justice and honesty can get a child hero just as far in the end 
as its adult counterpart, without any bloodshed. As opposed to the physical qualities of an 
adult hero, a traditional child hero has to rely on mental talents. 
The traditional child hero in British fantasy novels - a few girls excepted - is male. 
This nowadays very stereotypical phenomenon can be explained with the long and unchanged 
tradition of virile heroes such as Beowulf, Ulysses or Arthur. Their quests are male, too, since 
they consist of battles, fights with beasts, the rescue of maidens in distress and so on. In 
contrast to fairy tales, which appeal to both boys and girls, traditional fantasy adventures are 
tailored to the interests of boys rather than girls. Just like their adult role models, traditional 
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A sword-wielding child hero is thus not the first association with the term. At best they are conceded a wand 
as in the current publications of Harry Potter or The Children of the Red King, or a wand-like object as in Nix’ 
The Keys to the Kingdom
series. However, traditional child heroes mostly have to make do without weapons.

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child heroes have the urge to explore unknown territory, seek adventure and prove their worth 
by trials of strength in quest of acknowledgement.
Inferior in numbers to the male ones, girl heroes either act singly like Alice or are 
shown being part of a mixed group as in Nesbit’s novels. The aim of Alice’s quest is to find 
her way in a world full of crazy adults without becoming insane herself and eventually to 
return home safe and sound. In contrast to the marked character of Alice, the girls in Nesbit’s 
novels are a part of a mixed group. They can only be distinguished by being more careful, i.e. 
less prepared to take risks than the boys, which might be due to their superficial 
characterisation. Furthermore, their quests are female, too. Instead of battles, fights with 
beasts, trials of strength or rescues of boys in distress, girl heroes pursue harmless, defused 
goals such as finding the way back in Alice’s case.