"musee des beaux arts" by w. h. auden 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. pieter brueghel's "landscape with the fall of icarus" and w. h auden's "musee des beaux arts" both address the fall of icarus. how else are the two works alike? a. both have spooky environments and supernatural elements. b. both leave out realistic details, focusing more on a general idea. c. both use sensory details to express a silly tone. d. both include ordinary events such as a man plowing and animals wandering.