he inquisitive spirit of Euripides, when not (as in the Bacchae) interpreting the gods as profound psychological forces, was capable of presenting them as shady seducers or discredited figures of fun.
The passage suggests that the most favorable portrayal that Euripides gave of the Olympian gods was to interpret them as:
A psychological forces.
B Divine Saviours.
C inquisitive spirits.
D figures of fun.
But Cézanne, though he was familiar with the “art of the museums” and respected the attempts of his predecessors to come to terms with nature, did not despair of succeeding where they had failed-that is to say, in “realizing” his sensations in the presence of nature.
If it were discovered that Cézanne learned the concept of objective painting from another artist, this finding would challenge the contention that Cézanne:
A pursued goals similar to those of Greek and Roman art.
B was the founder of the modern movement in art.
C respected the attempts of his predecessors to come to terms with nature.
D was familiar with “the art of the museums.”