Read "musée des beaux arts," by w. h. auden. then examine the painting titled "landscape with the fall of icarus," by pieter brueghel the elder. about suffering they were never wrong, the old masters: how well they understood its human position: how it takes place while someone else is eating or opening a window or just walking dully along; how, when the aged are reverently, passionately waiting for the miraculous birth, there always must be children who did not specially want it to happen, skating on a pond at the edge of the wood: they never forgot that even the dreadful martyrdom must run its course anyhow in a corner, some untidy spot where the dogs go on with their doggy life and the torturer's horse scratches its innocent behind on a tree. in brueghel's icarus, for instance: how everything turns away quite leisurely from the disaster; the ploughman may have heard the splash, the forsaken cry, but for him it was not an important failure; the sun shone as it had to on the white legs disappearing into the green water, and the expensive delicate ship that must have seen something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on. both brueghel and auden refer to the story of the fall of icarus in their works. how are "landscape with the fall of icarus" and "musee des beaux arts" similar? \ a. they take focus away from the water by balancing it with the sky. b. they take focus away from icarus by including many other ordinary elements. c. they draw focus to icarus by using his name and picture in the titles. d. they draw focus to the water by indicating that it is very dangerous.