Momaday Riding Is An Exercise Of The Mind

This paper will inform the parents, educators, and American society of the benefits of therapeutic horseback riding for people who have cognitive challenges or loss of limbs and other functions. Therapy can happen on the horse as well as off, depending on the condition of the rider. Not all therapy has to be done on a horse. It can be done on the ground as well, by padding the horse, brushing the horse, leading the horse. Knowing you can conquer being around and taking care of a big horse gives those with challenges a sense of satisfaction and self confidence. Therapeutic horseback riding is wonderful for young people as well as older people with disabilities. Even if they cannot sit up straight, therapy can make it so that any individual can

In the first verse Griffin begins her poem by describing the flower in a field. Within the first few lines, imagery is used in such a way that it creates a vivid picture for the reader. “Love should grow up like a wild iris in the fields/ unexpected, after a terrible storm, opening a purple/ mouth to the rain, with not a thought to the future/ ignorant of the grass and the graveyard of leaves/ around,

The blue, as Marc prescribed, gives a peaceful note to the agitated atmosphere. He recollects an illusionistic portrayal within which he seeks to form a rich colour composition that reflects the vitality of his subject. The principal achievement in Red Horses is this portrayal of the uninhibited energy of nature using completely naturalistic colours.

The narrator shares this story from his youth in the words of an educated man. His actions as a teen are in stark contrast to his phraseology as an adult. Early in the story, he viewed “nature” as sex, drugs and rock and roll (Boyle 112-113). However, as the story ends and the turmoil subsides, the narrator sees nature for the first time, through the eyes of a person matured by this traumatic experience. The “sun firing buds and opening blossoms” replaced the once revered beer and

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

. . going backwards into pre-birth, which was red light and bubbling sounds" (43). The careful and vivid depiction of colors enables the reader to relate to the experience.

Color fills our world with beauty. We delight in the colors of a magnificent sunset and in the bright red and golden-yellow leaves of autumn. We are charmed by gorgeous flowering plants and the brilliantly colored arch of a rainbow. We also use color in various ways to add pleasure and interest to our lives. For example, many people choose the colors of their clothes carefully and decorate their homes with colors that create beautiful, restful, or exciting effects. By their selection and arrangement of colors, artists try to make their paintings more realistic or expressive.

When Stephen visits Sachi’s garden for the first time, he finds that “There were no trees, flowers, or water, only a landscape made of sand, stones, rocks, and some pale green moss . . . Sachi had created mountains from arranged rocks, surrounded by gravel and elongated stones flowing down like a rocky stream leading to a lake or the sea” (40). Unlike Matsu’s very green and tree-filled garden, Sachi’s garden is very dry, and simplistic, yet has a peculiarly admirable feeling when one is able to see the subtle details. Although it is very different from a typical garden, its components harmonize to create a new and beautiful pattern. At first, Stephen is overwhelmed by the unfamiliar concept of a dry landscape, but after taking it in, he says it is beautiful. This garden is has a fresh taste to it, leaving Stephen to decide the effect it has on him, whether it be positive or negative. When creating the garden, Sachi insisted that it should not have flowers. However, eventually, “between two large rocks grew a neat cluster of blooming flowers, startlingly beautiful, a splash of blue-purple . . . thriving among the muted, gray stones.” The way that the bright colors contrast against the dull gray shows that something unfamiliar and novel can appear beautiful in its own way. Since Sachi’s garden is filled with pebbles and stones, the dainty flowers stand out comely, and to

Color drives a significant amount of the meaning in this poem, as the idea is used in

    To begin, imagery helps shape the voice in the story “Marigolds.” Without varying kinds of imagery, written pieces seem bland and boring. Statements made in the short story like “lush green lawns” and “passionate yellow mounds” create mental pictures in the heads of the people reading. The words passionate and yellow put next together in a sentence could make one imagine a sunny day in a beautiful meadow full of perfect bright yellow marigolds. The words lush and green put next to each other could help one imagine laying down in a large field full of long, fresh grass. If the words passionate and lush were not used in the text, the imagery would not be powerful at all. The adjectives create the strength in the phrases for the most part, but colors definitely help, as well. If the author only said

Braaaaaap! Braaaaaaap! Ricky Charmichael takes the lead! He made the pass in the air over the 80 foot triple. Something that I love to do more than anything in the world is motocross. Motocross is racing over rough ground on specially strengthened motorcycles.

In a short story by Alice Munro, “A Red Dress 1946”, Color Imagery is used to represent the inner feelings of the narrator and how she wants to be blue. The narrator’s dream is to live a blue life, a life where she is just like everyone else. Munro writes, “when I was unaware of the world’s opinion. Now, grown wiser, I wished for dresses like those my friend Lonnie had, bought at Beale’s store”(1). Lonnie is able to buy things like her dresses from stores which just makes the narrator want to be blue. The narrator wants to be blue even more because of how Lonnie and many other girls can buy things but if she wants a nice dress she can’t buy it she

“Continuous as the stars that shine and twinkle on the milky way, they stretched in never-ending line along the margin of a bay: ten thousand saw I at a glance, tossing their heads in sprightly dance.” This beautiful and lovely description of the daffodils portrayed in “I Wandered Lonely as a Cloud” helps the reader to envision what Wordsworth saw while he was out walking. Such a description makes a reader’s imagination flow and encaptures a reader. Another story that catches a reader’s attention in a similar way to “I Wandered Lonely as a Cloud” is the text “Calypso Borealis”. Authors William Wordsworth and John Muir both write beautiful descriptions of nature that pull readers in and allow them to see the wonders of nature through the authors’

One of the most important observations anyone could make while viewing a painting is the artist’s delicate choice and use of colors. In paintings, colors serve two different but equally important purposes. One purpose is to draw attention to the painting, while the other purpose is to display emotions. An artist that understood the importance of color in paintings extremely well was the late talented Vincent Van Gogh. In his painting Café Terrace at Night, Van Gogh incorporates a vast array of colors to arouse emotions from within the audience. In order to assess which colors aroused which emotions two important questions must be answered. What emotions do the specific colors used within the painting give off to the audience? How have the emotions behind the colors been learned through normal human experience over time?

By analysing the structure (shift from external to internal landscape), language (tenses, pronoun), and presentation of the experience of seeing the daffodils, I seek to demonstrate that feelings of the sublime are only evoked when the narrator’s imagination participates in the scene he has internalized in his memory. While the first three stanzas exemplify a merely physical stimulus and response mechanism to nature, the last stanza shows how active poetic imagination enables man to recreate and amplify emotions encountered, thus resulting in feelings of the sublime. Why does the observer not recognise the ‘wealth’ the scene brings in that moment? How does poetic imagination connect the physical eye and the inner eye to allow for sublime, transcendental experience? Hess argues that the poem “depend[s] for [its] power on the narrator’s ability to fix a single, discrete, visually defined moment of experience in his mind, to which he can later return in acts of private memory and imagination” (298). An example of the recapturing of emotions is seen where “gay” (I. 15) is recaptured as “pleasure” (I. 23) at the end. Active imagination, which draws inspiration from memory of the initial encounter, is now a permanent possession that