might be telling a child what the child did during infancy,for which the child has no memory.Or a doctor might tell a patient with amnesia about what occurred during the time when the memory was gone,or a lawyer may present a story of crime directly to the accused criminal by way of accusation.In practice,the second person point of view is of only passing use in most fiction,and it is so rarely used that it is almost negligible.A.A.Milne uses it for a time at the beginning of the children's story Winnie the Pooh,but drops it as soon as the events of Pooh Bear and the rest of the animals get under way. Third Person If the narrator is not introduced as a character,and if everything in the work is described in the third person (that is,he,she,it,they),the author is using the third-person point of view.There are three variants:omniscient,limited omniscient, and objective or dramatic. Authors may at times feel the need for greater scope than first-person point of view affords.They wish to be the all-knowing narrator,not limited by time,place,or character,but free to roam and comment at will.Such a point of view is called third-person omniscient.The narrator,evidently the author,sees all,knows all,and, presumably,tells all.In this collection,Stephen Crane's The Bride Comes to Yellow Sky(cf.P.6)illustrates third-person point if view. While the omniscient point of view might seem at first glance the most flexible and functional,the author who adopts it pays a price.The reader may very well feel remote from the action.Certainly the reader will not as easily identify with the protagonist.The author who does not wish to sacrifice omniscience but who still hopes for greater reader identification with the protagonist may elect to tell the story from the limited-omniscient point of view.Although continuing to write in the third person,the author limits himself or herself to what is known by one character.John Steinbeck uses the limited omniscient point of view with notable success in The Chrysanthemums(cf.P.189) One further method of telling the story should be mentioned here---the objectivemight be telling a child what the child did during infancy, for which the child has no memory. Or a doctor might tell a patient with amnesia about what occurred during the time when the memory was gone, or a lawyer may present a story of crime directly to the accused criminal by way of accusation. In practice, the second person point of view is of only passing use in most fiction, and it is so rarely used that it is almost negligible. A. A. Milne uses it for a time at the beginning of the children’s story Winnie the Pooh, but drops it as soon as the events of Pooh Bear and the rest of the animals get under way. Third Person If the narrator is not introduced as a character, and if everything in the work is described in the third person (that is, he, she, it, they), the author is using the third-person point of view. There are three variants: omniscient, limited omniscient, and objective or dramatic. Authors may at times feel the need for greater scope than first-person point of view affords. They wish to be the all-knowing narrator, not limited by time, place, or character, but free to roam and comment at will. Such a point of view is called third-person omniscient. The narrator, evidently the author, sees all, knows all, and, presumably, tells all. In this collection, Stephen Crane’s The Bride Comes to Yellow Sky (cf. P. 6) illustrates third-person point if view. While the omniscient point of view might seem at first glance the most flexible and functional, the author who adopts it pays a price. The reader may very well feel remote from the action. Certainly the reader will not as easily identify with the protagonist. The author who does not wish to sacrifice omniscience but who still hopes for greater reader identification with the protagonist may elect to tell the story from the limited-omniscient point of view. Although continuing to write in the third person, the author limits himself or herself to what is known by one character. John Steinbeck uses the limited omniscient point of view with notable success in The Chrysanthemums (cf. P. 189) One further method of telling the story should be mentioned here---the objective