【英语】英语作文之Description

【关键字】英语
C h a p t e r 11 Description
The writer of description creates a word-picture of persons, places, objects, and emotions, using a careful selection of details to make an impression on the reader. If you have already written expository or argumentative essays in your composition course, you almost certainly have written some descriptive prose. Nearly every essay, after all, calls for some kind of description; for example, in the student comparison/contrast essay (pages 233–236), the writer describes two kinds of stores; in the professional process essay (pages 215–219), the writer describes the embalming procedure in great detail. To help you write better description in your other essays, however, you may want to practice writing descriptive paragraphs or a short descriptive essay. HOW TO WRITE EFFECTIVE DESCRIPTION
When descriptive prose is called for in your writing, consider these four basic suggestions:
Recognize your purpose. Description is not free-floating; it appears in your writing for a particular reason—to help you inform, clarify, persuade, or create a mood. In some essays you will want your description as objective—without personal impressions—as you can make it; for example, you might describe a scientific experiment or a business transaction in straight factual detail. Other times, however, you will want to convey a particular attitude toward your subject; this approach to description is called subjective or impressionistic. Note the differences between the following two descriptions of a tall, thin boy: the objective writer sticks to the facts by saying, “The eighteen-year-old boy was 6′1″ and weighed 125 pounds,” whereas the subjective writer gives an impre ssionistic description: “The young boy was as tall and scrawny as a birch tree in winter.” Before you begin describing anything, you must first decide your purpose and then whether it calls for objective or subjective reporting.
Describe clearly, using specific details. To make any description clear to your reader, you must include a sufficient number of details that are specific rather than fuzzy or vague. If, for example, your family dog had become lost, you wouldn’t call the animal shelter and ask if they’d seen a “big brown dog with a short tail”—aturally, you’d mention every distinguishing detail about your pet you could think of: size, color, breed, cut of ears, and special markings. Similarly, if your car was stolen, you’d give the police as clear and as complete a description of your vehicle as possible. Look at the following paragraph. Does it fully tell what a vaulting horse is?
A vaulting horse is a thing usually found in gyms that has four legs and a beam and is used by gymnasts making jumps.
If you didn’t already know what a vaulting horse was, you might have trouble picking it out in a gymnasium crowded with equipment. A description with additional details would help you locate it:
A vaulting horse is a piece of equipment used by gymnasts during competition to help propel them into the air when they perform any of a variety of leaps known as vaults. The gymnasts usually approach the vaulting horse from a running start and then place their hands on the horse for support or for a push off as they perform their vaults. The horse itself resembles a carpenter’s sawhorse, but the main beam is made of padded leather rather than wood. The rectangular beam is approximately 5 feet, 3 inches long and 131⁄2 inches wide. Supported by fou r legs usually made of steel, the padded leather beam is approximately 4 feet, 1⁄2 inch above the floor in men’s competitions and 3 feet, 7 inches in women’s competitions. The padded leather beam has two white lines marking off three sections on top: the croup, the saddle, and the neck. The two end sections—he croup and the neck—re each 151⁄2 inches long. Gymnasts place their hands on the neck or croup, depending on the type of vault they are attempting.
Moreover, the reader cannot imagine your subject clearly if your description is couched in vague generalities. The following sentence, for example, presents only a hazy picture:
Larry is a sloppy dresser.
Revised, the picture is now sharply in focus:
Larry wears dirty, baggy pants, shirts too small to stay tucked in, socks that fail to match his pants or each other, and a stained coat the Salvation Army rejected as a donation.
Specific details can turn cloudy prose into crisp, clear images that can be reproduced in the mind like photographs.
Select only appropriate details. In any description the choice of details depends largely on the writer’s purpose and
audience. However, many descriptions—especially the more subjective ones—ill present a dominant impression; that is, the writer selects only those details that communicate a particular mood or feeling to the reader. The dominant impression is the controlling focus of a description; for example, if you wrote a description of your grandmother to show her thoughtfulness, you would select only those details that convey an impression of a sweet, kindly old lady. Here are two brief descriptions illustrating the concept of dominant impression. The first writer tries to create a mood of mystery:
Down a black winding road stands the abandoned old mansion, silhouetted against the cloud-shrouded moon, creaking and moaning in the wet, chill wind.
The second writer tries to present a feeling of joy and innocence.
A dozen kites filled the spring air, and around the bright picnic tables spread with hot dogs, hamburgers, and slices of watermelon, Tom and Annie played away the warm April day.
In the description of the deserted mansion, the writer would have violated the impression of mystery had the sentence read, Down the black winding road stands the abandoned old mansion, surrounded by bright, multicolored tulips in early bloom.
Including the cheerful flowers as a detail in the description destroys the dominant mood of bleakness and mystery. Similarly, the second example would be spoiled had the writer ended it this way:
Tom and Annie played away the warm April day until Tom got so sunburned he became ill and had to go home. Therefore, remember to select only those details that advance your descriptive purpose. Omit any details you consider unimportant or distracting.
See if you can determine the dominant impression of each of the following descriptions:
The wind had curled up to sleep in the distant mountains. Leaves hung limp and motionless from the silent trees, while birds perched on the branches like little statues. As I sat on the edge of the clearing, holding my breath, I could hear a squirrel scampering through the underbrush. Somewhere far away a dog barked twice, and then the woods were hushed once more.
This poor thing has seen better days, but one should expect the sofa in a fraternity house den to be well worn. The large, plump, brown corduroy pillows strewn lazily on the floor and propped comfortably against the threadbare arms bear the pencil-point scars of frustrated students and foam-bleeding cuts of multiple pillow wars. No less than four pairs of rotting Nikes stand twenty-four-hour guard at the corners of its carefully mended frame. Obviously the relaxed, inviting appearance masks the permanent odors of cheap cigars and Michelob from Thursday night poker parties; at least two or three guests each weekend sift through the popcorn kernels and Doritos crumbs, sprawl face down, and pass out for the duration. However, frequent inhabitants have learned to avoid the dark stains courtesy of the house pup and the red-punch designs of the chapter klutz. Habitually, they strategically lunge over the back of the sofa to an unsoiled area easily identifiable in flight by the large depression left by previous regulars. The quiet hmmph of the cushions and harmonious squeal of the exhausted springs signal a perfect landing and utter a warm greeting from an old and faithful friend.
Make your descriptions vivid. By using clear, precise words, you can improve any kind of writing. Chapters 7 (on words) and 6 (on sentences) offer a variety of tips on clarifying your prose style. In addition to the advice given there, here are two other ways to enliven your descriptions, particularly those that call for a subjective approach:
Use sensory details. If it’s appropriate, try using images that appeal to your readers’ five senses. If, for example, you are describing your broken leg and the ensuing stay in a hospital, tell your readers how the place smelled, how it looked, what your cast felt like, how your pills tasted, and what noises you heard. Here are some specific examples using sensory details: Sight The clean white corridors of the hospital resembled the set of a sci-fi movie, with everyone scurrying around in identical starched uniforms.
Hearing At night, the only sounds I heard were the quiet squeakings of sensible white shoes as the nurses made their rounds.
Smell The green beans on the hospital cafeteria tray smelled stale and waxy, like crayons.
Touch The hospital bed sheet felt as rough and heavy as a feed sack.
Taste Every four hours they gave me an enormous gray pill whose aftertaste reminded me of the stale licorice my
grandmother kept in candy dishes around her house.
By appealing to the readers’ senses, you better enable them to identify with and imagine the subject you are describing. Joseph Conrad, the famous nineteenth-century novelist, agreed, believing that all art “appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its highest desire is to reach the secret spring of responsive emotions.” In other words, to make your readers feel, first make them “see.”
Use figurative language when appropriate. As you may recall from Chapter 7, figurative language produces images or pictures in the readers’ minds, helping them to understand unfamiliar or abstract subjects. Here are some devices you might use to clarify or spice up your prose:
1. Simile: a comparison between two things using the words “like” or “as” (see also pages 167–68)
Example Seeing exactly the shirt he wanted, he moved as quickly as a starving teenager spotting pie in a refrigerator full of leftover vegetables.
2. Metaphor: a direct comparison between two things that does not use “like” or “as” (see also pages 167–68)
Example After the holidays, her body resembled the “before” shots in every diet ad she’d ever seen.
3. Personification: the attribution of human characteristics and emotions to inanimate objects, animals, or abstract ideas Example The old teddy bear sat in a corner, dozing serenely before the fireplace.
4. Hyperbole: intentional exaggeration or overstatement
Example He was so lazy he worked nights as a futon.
5. Understatement: intentional representation of a subject as less important than the facts would warrant (see also irony, page 153)
Example “The reports of my death are greatly exaggerated.”—ark Twain
6. Synecdoche: a part of something used to represent the whole
Example A hundred tired feet hit the dance floor for one last jitterbug. [Here “feet” stand for the dancing couples themselves.] Using figures of speech in appropriate places can make your descriptions clear, lively, and memorable.
Problems to Avoid
Keep in mind these three pieces of advice to solve problems that frequently arise in description:
Remember your audience. Sometimes the object of our description is so clear in our minds we forget that our readers haven’t seen it, too. Consequently, the description we write turns out to be vague, bland, or skimpy. Ask yourself about your audience: what do they need to know to see this sight as clearly as I do? Then fill in your description with ample, precise details that reveal the best picture possible. Don’t forget to define or explain any terms you use that may be puzzling to your audience.
Avoid an erratic organization of details. Too often descriptions are a hodgepodge of details, jotted down randomly. When you write a lengthy description, you should select a plan that will arrange your details in an orderly fashion. Depending on your subject matter and your purpose, you might adopt a plan calling for a description of something from top to bottom, left to right, front to back, and so on. For example, a description of a woman might begin at the head and move to the feet; furniture in a room might be described as your eyes move from one side of the room to another. A second plan for arranging details presents the subject’s outstanding characteristics first and then fills in the lesser information; a child’s red hair, for example, might be his most striking feature and therefore would be described first. A third plan presents details in the order you see them approaching: dust, then a car, then details about the car, its occupants, and so on. Or you might describe a subject as it unfolds chronologically, as in some kind of process or operation. Regardless of which plan of organization you choose, the reader should feel a sense of order in your description.
Avoid any sudden change in perspective. If, for example, you are describing the White House from the outside, don’t suddenly include details that could be seen only from inside. Similarly, if you are describing a car from a distance, you might be able to tell the car’s model, year, and color, but you could hardly describe the upholstery or reveal the mileage. It is, of course, possible for you—r your observer—o approach or move around the subject of your description, but the reader must be aware of this movement. Any shift in point of view must be presented clearly and logically, with no sudden, confusing leaps from a front to a back view, from outside to inside, and so on.
ESSAY TOPICS
Here are some suggestions for a descriptive paragraph or essay; narrow your topic to fit your assignment. Don’t forget that every description, whether objective or subjective, has a purpose and that every detail should support that purpose. For additional ideas, see “Suggestions for Writing” following the professional essay (page 336).
1. A building or place you’re fond of
2. Your best/worst job
3. A piece of equipment important to your major, a hobby, or favorite sport
4. A campus or local character
5. One dish or foodstuff that should be forever banned
6. The most creative area of your life
7. Your most precious material possession
8. The ugliest/most beautiful place on your campus or in town
9. A holiday dinner or ritual in your home
10. Your first or worst car or apartment
11. A piece of clothing that reveals the real “you”
12. A product that needs to be invented
13. An act of heroism or personal success
14. A favorite painting, sculpture, or other art object
15. An unforgettable moment
16. An event, element, or critter in nature
17. A shopping mall, student cafeteria, or other crowded public place
18. The inside of your refrigerator, closet, or some other equally loathsome place in your home
19. A special collection or hobby display
20. The best beach, ski slope, hiking trail, or other recreation spot
A Topic Proposal for Your Essay
Selecting the right subject matter is important to every writer. To help you clarify your ideas and strengthen your commitment to your topic, here is a proposal sheet that asks you to describe some of your preliminary ideas about your subject before you begin drafting. Although your ideas may change as you write (they will almost certainly become more refined), thinking through your choice of topic now may help you avoid several false starts.
1. What subject will your essay describe? Will you describe this subject objectively or subjectively? Why?
2. Why are you interested in this topic? Do you have a personal or professional connection to the subject? State at least one reason for your choice of topic.
3. Is this a significant topic of interest to others? Why? Who specifically might find it interesting, informative, or entertaining?
4. In one or two sentences describe the major effect you’d like your descriptive essay to have on your readers. What would you like for them to understand or “see” about your subject?
5. List at least three details that you think will help clarify your subject for your readers.
6.What difficulties, if any, might arise during drafting? For example, what organizational strategy might you think about now that would allow you to guide your readers through your description in a coherent way?
SAMPLE STUDENT ESSSAY
In her descriptive essay, this student writer recalls her childhood days at the home of her grandparents to make a point about growing up. Notice that the writer uses both figurative language and contrasting images to help her readers understand her point of view.
TREECLIMBING
1 Introduction: The conversation that triggers her memory It wa s Mike’s eighteenth birthday and he was having a little bit of a breakdown. “When was the last time you made cloud pictures?” he asked me absently as he stared up at the ceiling before class started. Before I could answer, he continued, “Did you know that by the time you’re an adult, you’ve lost 85 percent of
your imagination?” He paused. “I don’t want to grow up.” Although I doubted the authenticity of his facts, I understood that Mike—the hopeless romantic with his long ponytail, sullen black clothes, and glinting dark eyes—was caught in a Peter Pan complex. He drew those eyes from the ceiling and focused on me. “There are two types of children. Tree children and dirt children. Kids playing will either climb trees or play in the dirt. Tree children are the dreamers—the hopeful, creative dreamers. Dirt children, they just stay on the ground. Stick to the rules,” he trailed off, and then picked up again. “I’m a tree child. I want to make cloud pictures and climb trees. And I don’t ever want to come down.” Mik e’s story reminded me of my own days as a tree child, and of the inevitable fall from the tree to the ground.
2 The grandparents’ neighborhood remembered in military images and sensory details My childhood was a playground for imagination. Summers were spent surrounded by family at my grandparents’ house in Milwaukee, Wisconsin. The rambling Lannonstone bungalow was located on North 46th Street at Burleigh, a block away from center-city Milwaukee, two blocks from Schuster’s department store and the Pfister hotel. In the winter, all the houses looked alike, rigid and militant, like white-bearded old generals with icicles hanging from their moustaches. One European-styled house after the other lined the streets in strict parallel formation, block after block.
3 But in the summer it was different . . . softer. No subzero winds blew lonely down the back alley. Instead, kids played stickball in it. I had elegant, grass-stained tea parties with a neighborhood girl named Shelly, while my grandfather worked in his thriving vegetable garden among the honeybees, and watched things grow. An ever-present warming smell of yeast filtered down every street as the nearby breweries pumped a constant flow of fresh beer. Looking up, the summer sky looked like an Easter egg God had dipped in blue dye.
4 Use of parallel sentences to emphasize anticipation Those summer trips to Milwaukee were greatly anticipated events back then. My brother and I itched with repressed energy throughout the long plane ride from the West Coast. We co uldn’t wait to see Grandma and Papa. We couldn’t wait to see what presents Papa had for us. We couldn’t wait to slide down the steep, blue-carpeted staircase on our bottoms, and then on our stomachs. Most of all, we couldn’t wait to go down to the basement.
5 The basement was better than a toy store. Yes, the old-fashioned milk chute in the kitchen wall was enchanting, and the laundry chute was fun because it was big enough to throw down Ernie, my stuffed dog companion, so my brother could catch him below in the laundry room, as our voices echoed up and down the chute. But the basement was better than all of these, better even than sliding down those stairs on rug-burned bottoms.
6 The basement in contrast to other parts of the house It was always deliciously cool down in the basement. Since the house was built in the ’30s, there was no air conditioning. Upstairs, we slept in hot, heavy rooms. My nightgown stuck to the sheets, and I would lie awake, listening to crickets, inhaling the beer-sweet smell of the summer night, hoping for a cool breeze. Nights were forgotten, however, as my brother and I spent hours every day in the basement. There were seven rooms in the basement; some darker rooms I had waited years to explore. There was always a jumbled heap of toys in the middle room, most of which were leftovers from my father’s own basement days. It was a child’s safe haven; it was a sacred place.
7 Adventures in the basement
The times spent in the basement were times of a gloriously secure childhood. Empires were created in a day with faded colored building blocks. New territories were annexed when either my brother or I got the courage to venture into one of those Other Rooms—the dark, musty ones without windows—and then scamper back to report of any sightings of monsters or other horrific childhood creatures. In those basement days everything seemed safe and wholesome and secure, with my family surrounding me, protecting me. Like childhood itself, entering the basement was like entering another dimension.
8 The house and neighborhood years later Last summer I returned to Milwaukee to help my grandparents pack to move into an apartment. I went back at 17 to find the house—my kingdom—up for sale. I found another cycle coming to a close, and I found myself separated from what I had once known. I looked at the house. It was old; it was crumbling; it needed paint. I looked down the back alley and saw nothing but trash and weeds. I walked to the corner and saw smoke-choked, dirty streets and thick bars in shop windows, nothing more than another worn-out mid-western factory city. I went back to the house and down to the basement, alone.
9 The basement years later It was gray and dark. Dust filtered through a single feeble sunbeam from a cracked window pane. It was empty, except for the overwhelming musty smell. The toys were gone, either packed or thrown away. As I walked in and
out of rooms. the quietness filled my ears, but in the back of my head the sounds of childhood laughter and chatter played like an old recording.
10 The dark rooms were filled not with monsters but with remnants of my grandfather’s business. A neon sign was propped against the wall in a corner: Ben Strauss Plumbing. Piles of heavy pipes and metal machine parts lay scattered about on shelves.
A dusty purple ribbon was thumbtacked to a door. It said SHOOT THE WORKS in white letters. I gently took it down. The ribbon hangs on my door at home now, and out of context it somehow is not quite so awe-inspiring and mystifying as it once was. However, it does serve its purpose, permanently connecting me to my memories.
11 Conclusion: A return to the introduction’s images and some advice All children are tree children, I believe. The basement used to be my tree, the place I could dream in. That last summer I found myself, much to Mike’s disappointment, quite mature, quite adult. Maybe Mike fell from his tree and got bruised. Climbing down from that tree doesn’t have to be something to be afraid of. One needn’t hide in the tree for fear of touching the ground and forgetting how to climb back up when necessary. I think there is a way to balance the two extremes. Climb down gracefully as you grow up, and if you fall, don’t land in quicksand. I like to think I’m more of a shrubbery child: not so low as to get stuck in the mud and just high enough to look at the sky and make cloud pictures.
PROFESSIONAL ESSAY
* To help you read this essay analytically, review pages 176–178. For two other professional essays in Part Two that make extensive use of description, see “To Bid the World Farewell” and“Two Ways of Viewing the River.”
Still Learning from My Mother
Cliff Schneider
Cliff Schneider is a graduate of Cornell and a retired freshwater fisheries biologist, who worked for the Department of Environmental Conservation in New York. Much of his research and writing has focused on his work studying Lake Ontario. This essay, a personal tribute to his seventy-nine-year -old mother, was first published in the “My Turn” column of Newsweek magazine, in March 2000.
1 When I was a young boy growing up on New York’s Long Island in the 1950s, it was common to see boys and their fathers gathering in the roads in front of their homes on warm summer evenings to “have a catch.” That was the term we had for tossing a baseball while we talked about school, jobs and life in general. Although my dad and I had many catches together, my most memorable ones were with my mother. She would happily grab a glove, run out to the road and then fire fast balls at me that cracked my glove and left my hand stinging. She never showed any motherly concern, though, just a broad grin with the tip of her tongue exposed in the corner of her mouth. This was her game face. I can still recall how delighted I was tossing the ball with Mom and hearing the comments from my friends and neighbors: “Where did your mother learn to throw a ball like that?”
2 My mother, you see, was a jock long before Title IX unleashed the explosion of modern women’s athletics. She lettered in field hockey and basketball while attending Hofstra University in the late 1930s. This was a time when it wasn’t very fashionable for women to go running after a ball and work up a sweat. Luckily for me, Mom never worried about what was fashionable. She loved sports, loved being active and, most of all, loved the competition. Mom was kind to her kids until we played ball. Then we’d notice this gleam in her eye, the broad grin and the familiar tongue that told us she was ready for action and ready to have some fun. No matter what game she played, Mom had class. She played hard, she laughed a lot and, win or lose, she was always gracious.
3 The years have diminished Mom’s physical abilities, as they would have for anyone who is about to become an octogenarian. Her back is a little bent, and she complains occasionally about her hip. Her biggest concession to the aging process, however, is that she has had to lighten up on her bowling ball. As a young mother in suburban bowling leagues she toted a 15-pound ball, carried a 160 average and had a high game of 212. As she’s grown older, her scores have declined. In recent years she’s had to start using an eight-pound ball, which she protests is too light and “doesn’t give enough pin action.”
4 For years I have had to listen to my mother’s perennial battle cry as she begins each new bowling season—“This is the year I’m going to bowl a 200 game!” I’ve always smiled and nodded in agreement, which was my way of acknowledging her determination. During our regular Thursday-evening phone conversations (she bowls on Thursdays), she gives me a frame-by-frame description of her games, and gripes that she can’t bowl the way she used to. She almost always slips in the
comment “I’m going to make 200 if it kills me.” I try to explain that she should be satisfied that she is at least able to play the game. “Try to make some concession to your age, Mom,” I say. Of course, she will have none of this talk and this year bought a 10-pound ball in pursuit of her dream. Vince Lombardi would be proud.
5 A week after she started bowling with her new ball, I called to check on her progress. She no sooner said “Hi” than I could tell something big had happened in her life. I could feel the smile all the way from Hendersonville, N.C., to upstate New York. I shouted, “You bowled a 200 game!” knowing it could be the only reason for such a happy voice. She corrected me: “Not a 200 game; I got a 220.” It was her highest score ever!She gave me a strike-by-strike description of her game, and we both celebrated over the phone. As she signed off and said her goodbyes, I could still sense the smile on her face. Her grin will probably fade in another month or two.
6 After some reflection, I am amazed by my mother’s accomplishment. Whether it is baseball, tennis, golf or even bowling, I have never heard of anyone’s peaking at 79. Yes, there is some degree of luck in every game,but in Mom’s case she had the best game of her life because she persevered. Mom’s achievement has lifted her spirits and made her feel young again. For someone who is too frequently reminded that she can’t do what she used to, this experience could not have come at a better time in her life. I guess I’m not surprised that I can still learn from Mom—hat you are never too old to dream and never too old to realize those dreams. I am not surprised, either, that in our most recent calls she talks about bowling a 250 game.
Questions on Content, Structure, and Style
1. Is Schneider’s description of his mother primarily objective or subjective? Cite an example of his language to support your answer.
2. Why was his mother’s behavior unusual in the 1950s? What does “before Title IX” (paragraph 2) mean?
3. How does Schneider physically describe his mother so that readers can easily imagine those early games of catch? Why does she have “class”?
4. Examine some of Schneider’s word choices. What, for example, is the effect of writing that his mother would “fire fast balls at me that cracked my glove and left my hand stinging” (paragraph 1) instead of“mom could throw very hard”?
5. What does his mother’s “perennial battle cry” at age 79 reveal about her? Why does Schneider think Vince Lombardi—he football coach who holds the record for the most NFL wins—ould be proud of her?
6. What “dominant impression” of his mother does Schneider pres ent in this essay? What are some of the details Schneider provides to help us understand this woman’s character?
7. What does Schneider’s occasional use of dialogue add to this essay?Why, for example, does he quote his neighbors in paragraph 1 and his mother in paragraphs 3 and 4?
8. Why does Schneider organize his essay by starting with a description of his mother’s younger days and concluding with a reference to “a250 game”? How does this organization contribute to our understanding of his mother?
9. What has Schneider learned from his mother? In what way is this lesson an important part of this essay’s purpose?
10. Did Schneider successfully create a picture of his mother? Could you suggest some ways he might improve his description? What language might have been more specific or vivid?
Suggestions for Writing
Try using Cliff Schneider’s “Still Learning from My Mother” as a steppingstone to your essay. Describe an unusual-but-wonderful relative or friend you admire for a particular trait. Consider including ample physical details, dialogue, and actions illustrating personality, as Schneider did, to make your description of this person vivid for your reader. Or write a description of an ancestor whose photograph has always intrigued you. What is the dominant impression of this picture? What does this person’s face (and perhaps choice of clothing? ) say to you about his or her character? Perhaps you might choose a photograph (or memory) of yourself on a special occasion. Write a description of yourself using a generous number of specific details and figurative language to capture the dominant impression of the picture.
Vocabulary
Title IX (2) diminished (3) octogenarian (3) concession (3) toted (3) perennial (4)
A REVISION WORKSHEET
As you write your rough drafts, consult Chapter 5 for guidance through the revision process. In addition, here are a few。