Read the excerpt from “The Scarlet Ibis.” That summer, the summer of 1918, was blighted. In May and June there was no rain and the crops withered, curled up, then died under the thirsty sun. One morning in July a hurricane came out of the east, tipping over the oaks in the yard and splitting the limbs of the elm trees. That afternoon it roared back out of the west, blew the fallen oaks around, snapping their roots and tearing them out of the earth like a hawk at the entrails of a chicken. Cotton bolls were wrenched from the stalks and lay like green walnuts in the valleys between the rows, while the cornfield leaned over uniformly so that the tassels touched the ground. Doodle and I followed Daddy out into the cotton field, where he stood, shoulders sagging, surveying the ruin. When his chin sank down onto his chest, we were frightened, and Doodle slipped his hand into mine. Suddenly Daddy straightened his shoulders, raised his giant knuckly fist, and with a voice that seemed to rumble out of the earth itself began cursing heaven, hell, the weather, and the Republican Party. Doodle and I, prodding each other and giggling, went back to the house, knowing that everything would be all right.

Which phrases are examples of sensory imagery that make the details of the setting more vivid? Check all that apply.

The answer is option c

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.