The Keen of Art O’Leary, Caoineadh Airt Uí Laoghaire, is an epic lament composed in Irish Gaelic by O’Leary’s widow, Dark Eileen O’Connell, after her husband, one of the few Catholic noblemen remaining in Ireland, was shot by English soldiers in 1773. The Caoineadh incorporates traditional aesthetic elements of keens: restricted line length, aperiodic repetition, direct address of the deceased person, and final vowel harmony lend invocatory power to the poem, much of which was chanted at O’Leary’s wake. Complete versions were not written down until years later. As opposed to the funeral, the wake was essentially a non-Christian ceremony. Keens expressed not only love for the fallen but uncomfortable themes of grief, rage, and revenge, in contrast to ideals of forgiveness and otherworldly hope manifested at the funeral. In her keen, Dark Eileen describes leaping on her husband’s riderless horse, racing to his body, and cupping her hands in his blood to drink it, a seemingly barbaric practice derived from the ancient animistic belief that the earth was too base to receive the dead man’s spirit.

Which of the following is NOT described in the passage as one of the Keen's aesthetic qualities?

A) Some vowels in the keen relate to each other in a pleasantly musical way.,
B) Certain elements of the keen are repeated at irregular intervals.,
C) In the keen, Dark Eileen speaks directly to her dead husband.,
D) Painful emotions such as grief and rage are surfaced in the keen.,
E) The lines of the keen are generally short in length.