[求助]大全88-7&8

[shirley720622]

Passage 88 (3/15)

Shaw’s defense of a theater of ideas brought him up against both his great bugbears—commercialized art on the one hand and Art for Art’s Sake on the other. His teaching is that beauty is a by-product of other activity; that the artist writes out of moral passion (in forms varying from political conviction to religious zeal), not out of love of art; that the pursuit of art for its own sake is a form of self-indulgence as bad as any other sort of sensuality. In the end, the errors of “pure” art and of commercialized art are identical: they both appeal primarily to the senses. True art, on the other hand, is not merely a matter of pleasure. It may be unpleasant. A favorite Shavian metaphor for the function of the arts is that of tooth-pulling. Even if the patient is under laughing gas, the tooth is still pulled.
The history of aesthetics affords more examples of a didactic than of a hedonist view. But Shaw’s didacticism takes an unusual turn in its application to the history of arts. If, as Shaw holds, ideas are a most important part of a work of art, and if, as he also holds, ideas go out of date, it follows that even the best works of art go out of date in some important respects and that the generally held view that great works are in all respects eternal is not shared by Shaw. In the preface to Three Plays for Puritans, he maintains that renewal in the arts means renewal in philosophy, that the first great artist who comes along after a renewal gives to the new philosophy full and final form, that subsequent artists, though even more gifted, can do nothing but refine upon the master without matching him. Shaw, whose essential modesty is as disarming as his pose of vanity is disconcerting, assigns to himself the role, not of the master, but of the pioneer, the role of a Marlowe rather than of a Shakespeare. “The whirligig of time will soon bring my audiences to my own point of view,” he writes, “and then the next Shakespeare that comes along will turn these petty tentatives of mine into masterpieces final for their epoch.”
“Final for their epoch”—even Shakespearean masterpieces are not final beyond that. No one, says Shaw, will ever write a better tragedy than Lear or a better opera than Don Giovanni or a better music drama than Der Ring des Nibelungen; but just as essential to a play as this aesthetic merit is moral relevance which, if we take a naturalistic and historical view of morals, it loses, or partly loses, in time. Shaw, who has the courage of his historicism, consistently withstands the view that moral problems do not change, and argues therefore that for us modern literature and music form a Bible surpassing in significance the Hebrew Bible. That is Shaw’s anticipatory challenge to the neo-orthodoxy of today.

7. The ideas attributed to Shaw in the passage suggest that he would most likely agree with which of the following statements?
(A) Every great poet digs down to a level where human nature is always and everywhere alike.
(B) A play cannot be comprehended fully without some knowledge and imaginative understanding of its context.
(C) A great music drama like Der Ring des Nibelungen springs from a love of beauty, not from a love of art.
(D) Morality is immutable; it is not something to be discussed and worked out.
(E) Don Giovanni is a masterpiece because it is as relevant today as it was when it was created.
答案B，為什麼阿，文章裡找不到啊？

8. The passage contains information that answers which of the following questions?
I. According to Shaw, what is the most important part of a work of art?
II. In Shaw’s view, what does the Hebrew Bible have in common with Don Giovanni?
III. According to the author, what was Shaw’s assessment of himself as a playwright?
(A) I only
(B) III only
(C) I and II only
(D) II and III only
(E) I, II, and III
答案D，我選A？

[dibert8]

7. 定位在 just as essential to a play as this aesthetic merit is moral relevance which, if we take a naturalistic and historical view of morals, it loses, or partly loses, in time.
(A) every 武斷字眼
(B) context = relevance
(C) 跳段亂湊 (Der Ring des Nibelungen 在第三段, love of art 在第一段)
(D) (E) moral relevance 就像 play (Don Giovanni) 會隨時間消逝

8.
I. 定位在 If, as Shaw holds, ideas are a most important part of a work of art,
假設語氣指出這不是 S 的想法,所以 I 不能選
II. 定位在 Shaw, who has the courage of his historicism, consistently withstands the view that moral problems do not change, and argues therefore that for us modern literature and music form a Bible surpassing in significance the Hebrew Bible.
HB 和 DG 同類: moral problems 自古皆然 (HB 是古代 masterpiece). 所以 II 要選.
III. 定位在 Shaw, whose essential modesty is as disarming as his pose of vanity is disconcerting, assigns to himself the role, not of the master, but of the pioneer, the role of a Marlowe rather than of a Shakespeare.
自己的確給了定位.所以 III 要選.

[shirley720622]

7. 定位在 just as essential to a play as this aesthetic merit is moral relevance which, if we take a naturalistic and historical view of morals, it loses, or partly loses, in time.
(A) every 武斷字眼
(B) context = relevance
(C) 跳段亂湊 (Der Ring des Nibelungen 在第三段, love of art 在第一段)
(D) (E) moral relevance 就像 play (Don Giovanni) 會隨時間消逝

8.
I. 定位在 If, as Shaw holds, ideas are a most important part of a work of art,
假設語氣指出這不是 S 的想法,所以 I 不能選
II. 定位在 Shaw, who has the courage of his historicism, consistently withstands the view that moral problems do not change, and argues therefore that for us modern literature and music form a Bible surpassing in significance the Hebrew Bible.
HB 和 DG 同類: moral problems 自古皆然 (HB 是古代 masterpiece). 所以 II 要選.
III. 定位在 Shaw, whose essential modesty is as disarming as his pose of vanity is disconcerting, assigns to himself the role, not of the master, but of the pioneer, the role of a Marlowe rather than of a Shakespeare.
自己的確給了定位.所以 III 要選.

謝謝你的回覆，可以請你翻譯這一句話嗎．
just as essential to a play as this aesthetic merit is moral relevance which, if we take a naturalistic and historical view of morals, it loses, or partly loses, in time.
這一句話我看不出和答案B有什麼關聯阿？

[dibert8]

這個美學成就與一齣戲一樣重要的是道德的關聯,如果從自然和歷史的道德觀來看,這齣戲隨時間消逝,或部份消逝.
我對'道德的關聯'的解讀就是藝術家創造藝術時的價值觀,也就是 context.
第一段也有一句相關的:
the artist writes out of moral passion (in forms varying from political conviction to religious zeal), not out of love of art
moral passion = context ; a play 必須有 moral relevance. 因此了解一齣戲要從劇作家創造時的價值觀切入.