Since her own era, Christina Rossetti’s devout Christianity has of

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问题             Since her own era, Christina Rossetti’s devout Christianity has often been
   seen as a characteristic setting her apart from the other avowedly non-Christian
   members of the Pre-Raphaelite circle. In designating their movement a form of
Line "aesthetic mysticism", one established critic, Alice Law described the place
(5)    Pre-Raphaelitism holds in the development of Victorian artistic culture as a
   movement away from a predominantly religious and moralizing function toward
   a culture of aestheticism—precisely what Rossetti’s work has long been thought
   to reject. The Pre-Raphaelites’ attention to picturesque detail, the medievalist
   atmosphere and settings, the pervasive melancholy of their works, and their
(10) awareness of their art’s primarily Christian literary and pictorial origins—all
   these have been traditionally downplayed in their similarity to the
   characteristics of Christina Rossetti’s poetry.
         This belief persists, despite the distinctly religious "atmosphere" of much
   of the work produced by both generations of Pre-Raphaelites: its employment of
(15) biblical images and typology; of religious figural language; and, more especially
   and pervasively, of medievalist backgrounds and settings that were seen by
   their early audiences to have clearly devotional, if not dangerously "Romanist",
   associations. When discussing Pre-Raphaelitism as an historical movement, we
   must remember that the first brotherhood was inspired largely by a sacramental
(20) aesthetic that tended to alienate Victorian society, which generally abhorred the
   notion of sacrifice. It is true that Rossetti’s traditional solution to the Romantic
   and Victorian literary problem of alienation from nature and the more
   characteristically Victorian problem of despair at life’s meaninglessness, was
   fundamentally Christian. But with few exceptions, Rossetti relied on the
(25) colloquial and angst-ridden language of both generations of Pre-Raphaelites.
   Even Swinburne, the Pre-Raphaelite whose anti-orthodoxy and iconoclasm seem
   to conflict most profoundly with Rossetti’s values, enthusiastically hailed her.
         That most Victorians themselves perceived Christina Rossetti as
   unequivocally Pre-Raphaelite in her poetic affinities is clear, for throughout her
(30) poetry and much of her prose Christina Rossetti demonstrated true and deep
   affinities with Pre-Raphaelite aesthetic values, in both innovative and traditional
   ways. We must not forget her "pictorial" modes of representation, the medieval
   atmosphere and settings that appear repeatedly in her poems, her appreciation
   of the world’s physical beauty and its expression in lush images, the intensity of
(35) her poems, which seems inseparable from their "sincerity", and not least her
   preoccupation with love. To a greater extent than figures more peripheral to
   the Pre-Raphaelite circle, Christina Rossetti produced works that appear to be
   dominated by the same aesthetic consciousness and literary values that make
   Pre-Raphaelitism the central movement which unintentionally spawned the
(40) aestheticism of the 1880s and 1890s. Pre-Raphaelitism, in fact, influenced
   aesthetic thought in a way that made the movement central to the transition
   from the sentimental moral idealism of the Victorian mainstream to the
   variously nihilistic, skeptical, and ironic value systems that dominate modern
   poetry. [br] The author of the passage offers all of the following as characteristics of Pre-Raphaelite art whose significance was ignored in order to isolate Rossetti’s work as anomalous, EXCEPT

选项 A、their sober tone
B、their usage of the painterly idiom
C、their cognizance of a religious influence
D、their minimalist sensibility
E、their medievalist atmosphere

答案 D

解析

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