The day before, children receive homework to read the stories “Galosh” and “Meeting,” and the lesson begins with the question: “Which writers’ works and how are these stories similar?” Children remember "The Horse's Name" by Chekhov and "The Night Before Christmas" by Gogol. They, according to the students, are just as funny. Agreeing with this guess, I cite the opinion of Sergei Yesenin, who said about Zoshchenko: “There is something from Chekhov and Gogol in him.” I ask how “Galoshes” and “Meeting” differ, for example, from the story “The Horse's Name”. ... Students suggest that Zoshchenko’s laughter is not as simple-minded as that of the early Chekhov; the stories concern the shortcomings not of an individual person, but of relationships between people and the life of society.
I tell sixth-graders that such features of a literary work give it a satirical character, I provide basic theoretical information about the satire... Then I ask them to think about what qualities a writer who creates satirical works should have. At the same time, we use the facts of Zoshchenko’s biography...
The main part of the two-hour lesson is search work, the purpose of which is to establish the features of satire in the stories “Galosh” and “Meeting”. To do this, the class is divided into groups of three to five, each receiving a task.
1st task: Who is the main character in the story “Galosh”? How do you imagine it? Why are we laughing at this person?
2nd task (for artists): Three boys are preparing in advance the performance “In the storage room and in the house management.” This work does not require special decorations and can be presented in a classroom without any difficulty.
3rd task: How does the writer make fun of red tape and bureaucracy in the story “Galoshes”? Find them in a dictionary and write down the meanings of these words.
4th task: Card with a question about the story "Meeting".
"Literary critic A.N. Starkov wrote: “The heroes of Zoshchenkov’s stories have very definite and firm views on life. Confident in the infallibility of his own views and actions, he, getting into trouble, is perplexed and surprised every time. But at the same time, he never allows himself to be openly indignant and indignant...” Do you agree with this? Try to explain the reasons for this behavior of the characters".
5th task: Find in the speech of the heroes of the story “Meeting” examples of inappropriate mixing of words of different styles, which produces a comic effect.
6th task: Try to give a diagram of the composition of the story "Galosh". What events are at the heart of the story? What is its plot?
7th task: How is the story “Meeting” divided into paragraphs? What types of sentences does the author use?
8th task: Is there an author’s voice in these stories by Zoshchenko? What is the narrator's face like? What is the significance of this author's technique?
After ten to fifteen minutes we begin discussing completed tasks. Groups 3, 5 and 6 make appropriate notes on the board, the teacher summarizes the students’ answers, indicates what conclusions and new words need to be written down in their notebooks.
I tell sixth-graders that most often the hero of Zoshchenko’s stories becomes the “average” person, the so-called layman. I explain the peculiarities of the meaning of this word in different historical eras...
After the dramatization, students receive a visual understanding of the meaning of the words “red tape” and “bureaucracy.” ... The guys note that even today there are plenty of such phenomena in life, they are written about in the press, reported on radio and television, and told by elders at home. All this testifies to the relevance of Zoshchenko’s stories...
Zoshchenko used the skaz form (it is already familiar to sixth-graders from the works of N. Leskov and P. Bazhov). He said: “I distort almost nothing. I write in the language that the street now speaks and thinks.” And the guys found in the speech of the heroes vocabulary of different layers: clerical stamps, words of high style... The writer himself called his style “chopped”. The guys should write down the signs of this style: fractional division into small paragraphs; short, usually declarative sentences. Then consider the examples from the text that the 7th group selected.
The composition of the story is familiar to children from speech development lessons. The plot, the development of the action, the climax, the denouement - they find these elements of composition in the story "Galosh". The peculiarity of Zoshchenko’s stories is that the development of the plot is often slow, the actions of the characters are devoid of dynamism...
After the performance of the last group, students will note in their notebooks another feature of Zoshchenko’s stories. All events are shown from the point of view of the narrator; he is not only a witness, but also a participant in the events. This achieves the effect of greater authenticity of events; such a narration allows one to convey the language and character of the hero, even if the person’s true face contradicts who he presents himself to be, as in the story “Meeting.”
Summing up the results of two lessons on Zoshchenko, schoolchildren name the group that completed the task best, note the main thing achieved after the collective study of Zoshchenko’s stories: new words and literary terms, features of the writer’s creative handwriting, connections between literary works (Leskov, Chekhov, Zoshchenko) ...
Bullying is political and lit - such is the lot of gifted and truthful people. For many years they tried to present Z as anything but a satirist. In the late 30s a satirical production appeared. “Case History” - the hero ends up in the hospital with typhoid fever, and the first thing he sees is a poster on the wall: “Issuing corpses from 3 to 4.” But not only this: a “washing station”, a shirt with a prisoner’s mark on the chest, a small room where 30 people are lying. Miraculously, he manages to recover, although everything was done to ensure that he did not survive. The display is not of one person or several people, but of the entire community, which was rejected after 17. humanism, mercy, humanity. Negative was concerned with denunciation, state control over all aspects of people’s lives. Z almost documented the origins of Soviet bureaucracy. “Patient”-hero Dmit Naumych is ashamed of his wife’s ugliness. But his speech exposed himself: I know 4 rules of arithmetic. And this is said by a person endowed with power. The language of bureaucratic “monkeys” The story “Monkey Language” ridicules the passion of officials for words and combinations that are incomprehensible to them, such as “plenary meeting”, “discussion”. “Blue Book” - there are no officials and bureaucrats, or they play a secondary role. Here the people themselves are callous and indifferent to each other, they pass by people of misfortune. This indifference is disgusting to Z, and he fights it with his biting and well-aimed words. He spares no one, but still his heroes evoke in him only sarcasm, but also a sad smile. Here Z seemed to have lost faith in the possibility of changing people’s morals. The whole history of a person is money, deceit, love, failures, amazing incidents. Topics: Unsettled life, kitchen troubles, life of bureaucrats, ordinary people, officials, funny life situations. Z opened the eyes of the average person and corrected his shortcomings. A satirical description of bourgeois morals is the goal of Z. The language is very simple, colloquial, slang.
"Galoshes"
M. M. Zoshchenko was born in Poltava, in the family of a poor artist. He did not graduate from the Faculty of Law of St. Petersburg University and volunteered for the front. In his autobiographical article, Zoshchenko wrote that after the revolution “he wandered around many places in Russia. He was a carpenter, went to the animal trade on Novaya Zemlya, was a shoemaker's apprentice, served as a telephone operator, a policeman, was a search agent, a card player, a clerk, an actor, and again served at the front as a volunteer - in the Red Army." The years of two wars and revolutions are a period of intense spiritual growth of the future writer, the formation of his literary and aesthetic convictions.
Mikhail Mikhailovich was a continuer of the traditions of Gogol, early Chekhov, Leskov. And based on them, he became the creator of an original comic novel. The urban tradesman of the post-revolutionary period and the petty clerk are the writer’s constant heroes. He writes about the comical manifestations of the petty and limited everyday interests of a simple city dweller, about the living conditions of the post-revolutionary period. The author-narrator and Zoshchenko’s characters speak a colorful and broken language. Their speech is rude, stuffed with clerical sayings, “beautiful” words, often empty, devoid of content. The author himself said that “he writes concisely. The phrases are short. Available to the poor."
The story “Galosh” is a vivid example of the comic novel genre. The heroes of the story remind us of the heroes of Chekhov's stories. This is a simple man, but we don’t learn anything about his talent, genius or hard work, like Leskov’s heroes. Other actors are employees of government agencies. These people deliberately delay the resolution of a trivial issue, which indicates their indifference to people and the uselessness of their work. What they do is called red tape. But our hero admires the work of the apparatus: “I think the office works great!”
Is it possible to find a positive hero in the story? All heroes cause us contempt. How pathetic are their experiences and joys! “Don’t let the goods go to waste!” And the hero sets out to search for the “almost brand new” galoshes lost on the tram: worn “for the third season”, with a frayed back, without a flap, “heel... almost missing.” For a hero, a week of work is not considered red tape. So what is considered red tape then? And issuing certificates of lost galoshes is a job for some people.
We cannot call this story humorous, since humor presupposes fun and goodwill. In the same story, sadness and frustration seep through the laughter. The characters are rather caricatured. By ridiculing evil, the author shows us what we should not be.
BATH
The hero-narrator, starting his monologue with the fact that, according to rumors, “in
America has very excellent baths,” tells the story of a trip to an ordinary
Soviet bathhouse, “which costs ten kopecks.” Arriving there, he received
in the locker room there are two numbers that a naked man has nowhere to put:
“There are no pockets. There’s belly and legs all around.” Tying numbers to my feet,
the hero goes in search of the gang. Having difficulty getting her, he
discovers that everyone around him is doing laundry: “Only,
Let's say he washed himself - he's dirty again. The devils are splashing!” Having decided
“to wash at home”, the hero goes to the dressing room, where strangers give him
pants: the hole is in the wrong place. Having been satisfied with them, he
goes to the locker room “to get a coat” - but the hero will not give it to him
they want to, because all that’s left of the number on his leg is a piece of string, “and the pieces of paper
No. The piece of paper was washed away.” Nevertheless, he manages to persuade the bathhouse attendant to give out
coat “according to signs”: “One, I say, pocket is torn, the other is missing.
As for the buttons, I say the top one is there, but not the bottom ones.
is foreseen." To top it all off, the hero discovers that he has forgotten in
the bathhouse contains soap, and the campaign thus ends in complete failure.
Nervous people
Mikhail Zoshchenko's laughter is both funny and sad. Behind the “everyday” absurd and funny situations of his stories are hidden the sad and sometimes tragic reflections of the writer about life, about people, about time.
In the 1924 story “Nervous People,” the writer touches on one of the main problems of his era - the so-called “housing question.” The hero-narrator tells readers about a seemingly insignificant incident - a fight in a communal apartment: “Recently, a fight occurred in our apartment. And it’s not just a fight, but a whole fight.” Zoshchenko gives a specific designation of the location of his story and its participants - Moscow, 20s, residents of an apartment on the corner of Glazovaya and Borovaya. Thus, the writer seeks to enhance the effect of the reader’s presence, to make him a witness to the events described.
Already at the beginning of the story, a general picture of what happened is given: a fight occurred, in which the disabled Gavrilov suffered the most. The naive narrator sees the reason for the fight in the increased nervousness of the people: “... the people are already very nervous. Gets upset over small trifles. It’s getting hot” And this, according to the hero-narrator, is not surprising: “It is, of course. After the civil war, they say, people’s nerves are always shaken.”
What caused the fight? The reason is the most insignificant and ridiculous. One resident, Marya Vasilyevna Shchiptsova, took a hedgehog from another resident, Daria Petrovna Kobylina, without permission, in order to clean the primus stove. Daria Petrovna was indignant. So, word for word, the two women quarreled. The narrator delicately writes: “They began to talk to each other.” And then he continues: “They made a noise, a roar, a crash.” Using gradation, the author reveals to us the true state of affairs: we understand that two neighbors began to quarrel, quarrel and, probably, fight. In addition, thanks to this gradation, a funny, comic effect is created.
Daria Petrovna’s husband, Ivan Stepanych Kobylin, appeared in response to the noise and swearing. This image is a typical image of a Nepman, a “bourgeois undercut.” The narrator describes him this way: “Such a healthy man, even pot-bellied, but, in turn, nervous.” Kobylin, “like an elephant,” works in a cooperative, selling sausage. For his own, money or things, he, as they say, will hang himself. This hero intervenes in the quarrel with his weighty word: “...under no circumstances will I allow unauthorized personnel to use these hedgehogs.” For Kobylin, other people, even neighbors, are “foreign personnel” who should not touch him in any way.
All the residents of the communal apartment came out to the scandal - all twelve people. Having gathered in a cramped kitchen, they began to resolve a controversial issue. The appearance of the disabled Gavrilych and his words “What is this noise, but there is no fight?” became the impetus for the climax of the story - the fight.
In the cramped and narrow kitchen, all the residents began to wave their hands, venting their dissatisfaction with both their neighbors and the terrible living conditions. As a result, the most innocent and defenseless person, the legless disabled man Gavrilych, suffered. Someone, in the heat of a fight, “hits a disabled person on the dome.” Only the arriving police were able to calm the raging residents. Having come to their senses, they cannot understand what led them to such a serious fight. This is scary, because the victim of their madness, the disabled Gavrilych, “lies, you know, on the floor, boring. And blood is dripping from my head.”
At the end of the story, we learn that a trial was held, the verdict of which was to “register Izhitsa,” that is, to reprimand the residents of the apartment. The story ends with these words: “And the judge, also a nervous man, was caught and prescribed Izhitsa.”
It seems to me that this verdict confirms the typicality of such situations for Moscow in the 20s of the 20th century. According to Zoshchenko, communal apartments are an absolute evil. Of course, it all depends on specific people. After all, there were also communal apartments in which neighbors lived as one family and never wanted to leave. Of course, the author satirically reveals the image of Kobylin, an uneducated and arrogant grabber. But, at the same time, there is some truth in the words of this hero. Why doesn’t he, like the other twelve residents of a small communal apartment, have the right to his own personal space, to his own apartment? Excited by the cramped conditions and the fact that they are constantly forced to deal with their not always pleasant neighbors, “nervous people” are constantly in conflict. Every little thing causes a storm of emotions in them, as a result of which the most terrible things can happen.
The fact that the “housing issue” is not a trifle, the solution of which can wait, is indicated by the tragic ending of the story “Nervous People.” As a result of the fight, an innocent person, the disabled Gavrilych, dies.
This story by Zoshchenko introduces us to the world of Moscow in the 20s of the last century. The image of the hero-storyteller - an ordinary Muscovite, naively telling about his life, what he knows, and what he witnessed - helps to create the flavor of that time. The language of the narrator and the characters of the work is a mixture of vernacular, vulgarisms and clericalisms, borrowed words. This combination paints a truthful portrait of Zoshchenko’s contemporary and, at the same time, creates a comic effect, causing a sad smile in the reader.
I believe that by exposing the shortcomings of his time, Zoshchenko sought to improve the lives of his contemporaries. Talking about seemingly trifles, the writer showed that life, the life of individual people, consists of little things. Writer Mikhail Zoshchenko considered improving this life his highest goal.
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Mikhail Zoshchenko is a great humorist whose stories amaze with rich, folk language and unique humor. Zoshchenko's characters are funny, but at the same time they evoke sympathy and pity.
The story "Galosh" begins unusually - with the introductory word "of course." Introductory words express the speaker's attitude to what is being communicated. But, in fact, nothing has been said yet, but of course it has already been said. The word “of course,” in its meaning, should sum up what has been said, but it anticipates the situation and gives it a certain comic effect. At the same time, the unusual introductory word at the beginning of the story emphasizes the degree of ordinaryness of what is being reported - “it’s not difficult to lose a galosh on a tram.”
In the text of the story you can find a large number of introductory words (of course, the main thing is maybe) and short introductory sentences (I look, I think, they say, imagine). The syntactic structure of the sentence that begins the story is consistent with the sentence in the middle of the story: “That is, I was terribly happy.” The comic subtext of this sentence, which begins a paragraph, is ensured by the use of an explanatory conjunction, that is, which is used to attach members of a sentence that explain the thought expressed, and which is not used at the beginning of a sentence, especially a paragraph. The story is characterized by the unusualness of the writer's narrative style. Its peculiarity is also that Zoshchenko narrates the story not on his own behalf, not on behalf of the author, but on behalf of some fictitious person. And the author persistently emphasized this: “Due to past misunderstandings, the writer informs criticism that the person from whom these stories are written is, so to speak, an imaginary person. This is the average intelligent type who happened to live at the turn of two eras.” And he is imbued with the peculiarities of this person’s speech, skillfully maintaining the accepted tone so that the reader does not have doubts about the truth of the fictional narrator. A characteristic feature of Zoshchenko’s stories is a technique that the writer Sergei Antonov calls “reverse”.
In the story “Galosh” you can find an example of “reverse” (a kind of negative gradation) a lost galosh is first characterized as “ordinary”, “number twelve”, then new signs appear (“the back, of course, is frayed, there is no bike inside, the bike was worn out” ) , and then “special signs” (“the toe seemed to be completely torn off, it was barely holding on. And the heel... was almost gone. The heel was worn off. And the sides... still nothing, nothing, they were holding on"). And here is such a galosh, which, according to “special characteristics,” was found in the “cell” among “thousands” of galoshes, and also a fictional narrator! The comic nature of the situation in which the hero finds himself is ensured by the conscious purposefulness of the technique. In the story, words of different stylistic and semantic connotations unexpectedly collide (“the rest of the galoshes”, “terribly happy”, “lost the rightful one”, “the galoshes are dying”, “they are giving them back”), and phraseological units are often used (“in no time”, “ I didn’t have time to gasp”, “a weight off my shoulders”, “thank you to the death of my life”, etc.) the intensifying particle is deliberately repeated directly (“just nothing”, “just reassured”, “just touched”), which give the story a living character colloquial speech. It is difficult to ignore such a feature of the story as the persistent repetition of the word speak, which serves as a stage direction that accompanies the statements of the characters. In the story
“Galosh” has a lot of jokes, and therefore we can talk about it as a humorous story. But there is a lot of truth in Zoshchenko’s story, which allows us to evaluate his story as satirical. Bureaucracy and red tape - this is what Zoshchenko mercilessly ridicules in his small-sized but very capacious story.
Of course, it’s not difficult to lose a galosh on a tram. Especially if they push you from the side, and from behind some Arkharovite steps on your backdrop - that’s why you don’t have galoshes.
Losing a galosh is nothing at all.
They took my galoshes off in no time. You could say I didn’t have time to gasp.
I got on the tram - both galoshes were in place, as I remember now. I also touched it with my hand when I climbed in - was it there?
And I got off the tram - I looked: one galosh is here, how cute, but the other is missing. The boot is here. And the sock, I see, is here. And the underpants are in place. But there are no galoshes.
But, of course, you can’t run after the tram.
He took off the rest of his galoshes, wrapped them in newspaper and went like that. “After work,” I think, “I’ll go looking for him. Don't let the goods go to waste. I’ll dig it up somewhere.”
After work I went looking. First of all, I consulted with a car driver I knew.
That's exactly what reassured me.
“Tell me,” he says, “thank you for losing me on the tram.” In another public place, I can’t guarantee, but getting lost on a tram is a sacred thing. We have such a camera for lost things. Come and take it. Holy cause!
“Well,” I say, “thank you.” Straight up, a load off your shoulders. The main thing is that the galoshes are almost brand new. I'm only wearing it for the third season.
The next day I went to the cell.
“Is it possible,” I say, “brothers, to get my galoshes back?” Filmed on the tram.
“It’s possible,” they say. - What kind of galoshes?
“Galoshes,” I say, “the usual kind.” Size - number twelve.
“We,” they say, “have number twelve, maybe twelve thousand.” Tell me the signs.
“Signs,” I say, “the usual ones: the back is, of course, frayed, there’s no bike inside—the bike was worn out.”
“We have,” they say, “maybe more than a thousand such galoshes.” Are there any special signs?
“There are special signs,” I say. The sock seems to be completely torn off and is barely holding on. And the heel, I say, is almost gone. The heel came off. And the sides, I say, are okay, so far they’ve held up.
“Sit,” they say, “here.” Let's see.
Suddenly they take out my galoshes.
That is, I was terribly happy. I was really touched. “Here,” I think, “the device works nicely. And what, I think, ideological people - how much trouble they took on because of one overshoe.”
“Thank you,” I say, “friends for life.” Let's get her here quickly. I'll put it on now.
“No,” they say, “dear comrade, we can’t give it.” We, they say, don’t know, maybe it wasn’t you who lost.
“Yes,” I say, “I lost it.”
“Very,” they say, “probably, but we can’t give it.” Bring proof that you really lost your galosh. Let the house management certify this fact, and then we will issue it without unnecessary red tape.
“Brothers,” I say, “holy comrades, but in the house they don’t know about this fact.” Maybe they won't give such paper.
“They will,” they say, “it’s their business to give.”
I looked at the galoshes again and went out.
The next day I went to the chairman.
“Come on,” I say, “the paper.” The galosh is dying.
“Is that right,” he says, “lost it?” Or do you twist it?
“By God,” I say, “I lost it.”
“Write,” he says, “a statement.”
I wrote a statement. The next day I received my official ID.
I went to the cell with this ID. And without hassle, without red tape, they give me a galosh.
Only when I put the galoshes on my foot did I feel complete tenderness. “Here,” I think, “the device is working! Yes, in some backward country, would they bother with my galoshes for so much time? Yes, they would throw her off the tram - that’s all there is to it. And then I didn’t bother for a week, they give me back. This is the device!
One thing is annoying: this week, during the troubles, I lost my first galosh. I carried it under my arm all the time in a bag - and I don’t remember where I left it. The main thing is that it’s not on the tram. It's a shame that it's not on the tram. Well, where to look for it?
But, on the other hand, I have a different galosh. I put it on the chest of drawers. Another time it becomes boring - you look at the galoshes - and somehow your soul becomes light and harmless. “Here,” I think, “is the device!”
Of course, it’s not difficult to lose a galosh on a tram.
They took my galoshes off in no time. You could say I didn’t have time to gasp.
I got on the tram and both galoshes were still in place. And I got off the tram - I looked, one galosh was here, on my leg, but the other was missing. The boot is here. And the sock, I see, is here. And the underpants are in place. But there are no galoshes.
But, of course, you can’t run after the tram.
He took off the rest of his galoshes, wrapped them in newspaper and went like that.
After work, I think I'll go looking for him. Don't let the goods go to waste! I'll dig it up somewhere.
After work I went looking. The first thing was to consult with one of the train driver I knew.
That's exactly how he reassured me.
“Say,” he says, “thank you for losing it on the tram.” I can’t guarantee that you’ll get lost in another public place, but getting lost on a tram is a sacred thing. We have such a camera for lost things. Come and take it. Holy cause.
- Well, I say, thank you. It's a real burden on my shoulders. The main thing is that the galoshes are almost brand new. I'm only wearing it for the third season.
The next day I go to the cell.
“Is it possible, I say, brothers, to get the galoshes back?” Filmed on the tram.
- It’s possible, they say. What galosh?
- Galoshes, I say, are ordinary. Size - number twelve.
- They say we have number twelve, maybe twelve thousand. Tell me the signs.
- The signs, I say, are usually what they are: the back, of course, is frayed, there is no bike inside, the bike has been worn out.
“They say we have maybe more than a thousand such galoshes.” Are there any special signs?
– I say there are special signs. The sock seems to be completely torn off and is barely holding on. And, I say, there is almost no heel. The heel came off. And the sides, I say, are still okay, so far they have held up.
- Sit here, they say. Let's see. Suddenly they take out my galoshes. That is, I was terribly happy. I was really touched. I think the device works great. And what, I think, ideological people, how much trouble they took on themselves because of one galosh. I tell them:
- Thank you, I say, friends, to the end of my life. Let's get her here quickly. I'll put it on now. Thank you.
“No, they say, dear comrade, we can’t give it.” They say we don’t know, maybe it wasn’t you who lost.
- Yes, I say, I lost it. I can give you my word of honor. They say:
“We believe and fully sympathize, and it is very likely that it was you who lost this particular galosh.” But we can’t give it away. Bring proof that you really lost your galosh. Let the house management certify this fact, and then, without unnecessary red tape, we will give you what you legally lost.
I speak:
- Brothers, I say, holy comrades, but in the house they don’t know about this fact. Maybe they won't give such paper.
They answer:
“They will give it, they say, it’s their business to give it.” Why do you have them?
I looked at the galoshes again and went out.
The next day I went to the chairman of our house, I told him:
- Give me the paper. The galosh is dying.
- Is it true he says he lost it? Or do you twist it? Maybe you want to grab an extra consumer item?
- By God, I say, I lost it. He says:
– Of course, I can’t rely on words. Now, if you could get me a certificate from the tram depot that you lost your galoshes, then I would give you the paper. But I can’t do that.
I speak:
- So they are sending me to you. He says:
- Well then, write a statement. I speak:
- What should I write there? He says:
- Write: today the galoshes disappeared. And so on. I give, they say, a receipt not to leave until clarification.
I wrote a statement. The next day I received my official ID.
I went to the cell with this ID. And there, imagine, without hassle and without red tape, they give me my galoshes.
Only when I put the galoshes on my foot did I feel complete tenderness. I think people are working! In any other place, would they have spent so much time fiddling with my galoshes? Yes, they would have thrown it out - that’s all there was to it. And then, after I haven’t bothered for a week, they give me back.
One thing is annoying: this week, during the troubles, I lost my first galosh. I carried it under my arm all the time, in a bag, and I don’t remember where I left it. The main thing is that it’s not on the tram. It's a shame that it's not on the tram. Well, where to look for it?
But I have a different galosh. I put it on the chest of drawers.
Another time you get bored, you look at your galoshes, and somehow your soul feels light and harmless.
Well, I think the office works well!
I will keep this galosh as a souvenir. Let the descendants admire.
