Our task will be simpler if we begin with some stories written long before anyone worried very much about cleaning out the rhetorical imparities from the house of fiction. The stories in Boccancio"s Decameron, for example, seem extremely simple—perhaps even simple-minded and inept—if we ask of them the questions which many modern stories invite us to ask. It is bad enough that the characters are what we call two-dimensional, with no revealed depths of any kind; what is much worse, the "point of view" of the narrator shifts among them with a total disregard for the kind of technical focus or consistency generally admired today. But if we read these stories in their own terms, we soon discover a splendid and complex skill underlying the simplicity of the effect. It can be inferred from the passage that______.
A．modern stories are generally more interesting than earlier stories because they can reveal the characters in depths B．telling a story from more than one perspective is considered a rhetorical impurity by modern story writers C．Unlike modern stories, earlier stories generally do not invite readers to ask "questions of them D．The stories in Decameron are simple-minded