Passage At the Forefront of the Modernist Poetry Movement Were T

Passage
At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, "Make it new!" characterized their artistic approach.  Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.  Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.  At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled "poet" and "painter," Cummings was beyond his time in his efforts to innovate.  He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.  Much of Cummings' writing also used idiosyncratic similes and metaphors.  This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.  However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.  He often contrasted the "doing" of others-scientists in particular-to the "being" of the artist.  Compared to what he defined as the "nonartist," Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.  For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the "new ways of being new."  Consequently, his poetry was composed of ordinary sounds that derived from conventional language.  Although many contemporary critics dismissed his work as overly simplistic, or "too near the level of talk," Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that "a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down."  This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from "a lump in the throat, a homesickness, a loneliness."  Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.  Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.  Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.  Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.
-Which of the following perspectives, if shown in a painting, would be LEAST like the bird's eye view?

A) A view of planet Earth from outer space
B) A three-dimensional overview of a city
C) A view of an island from a boat at sea
D) A view of a town as seen from within a tunnel