Read the passage below:
The construction of the Queensboro Bridge was hailed by the city's press as a triumph of modern engineering, a testament to steel and human resolve that would link the boroughs. To the editors of *The Gazette*, the massive cantilever spans rising over the East River were symbols of progress, neat lines on a blueprint transformed into monumentality. They wrote glowingly of the thousands of tons of steel and the clean geometric lines that would redefine the skyline.
But up on the high iron, suspended two hundred feet above the churning gray water, the bridge was neither a blueprint nor a civic monument; it was a living, breathing beast of cold metal. *Just keep your eyes on the rivet head, don't look down at the tugboats, and pray the wind doesn't gust past thirty knots.* For Thomas, the grand union of Manhattan and Queens boiled down to the heat of the forge and the terrifying vibration of the temporary wooden footwalks under his boots. The grand abstractions of progress vanished in the face of a slippery steel beam and the very real possibility of a misstep.
Which of the following best describes the shift in point of view that occurs between the first paragraph and the second paragraph?
- Afrom an omniscient narrator's description of a city's growth to a first-person memoir of a retired steelworker
- Bfrom a local journalist’s personal reflections on progress to a historical analysis of the bridge's engineering challenges
- from an objective, public account of the bridge's construction to a worker's subjective, immediate experience on the structureCevap
- Dfrom a first-person narrative of a city planner to a third-person description of a laborer's daily routine