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1、Passage3Shaw'sdefenseofatheaterofideasbroughthimupagainst(bringupagainst:v.遭遇)bothhisgreatbugbears—ommercializedartontheonehandandArtforArfsSakeontheother.Histeachingisthatbeautyisaby-productofotheractivity;thattheartistwritesoutofmoralpassion(informsvaryingfrompol
2、iticalconvictiontoreligiouszeal),notoutofloveofart;thatthepursuitofartforitsownsakeisaformofself・indulgeneeasbadasanyothersortofsensuality.Intheend,theerrorsof“pure”artandofcommercializedartareidentical:theybothappealprimarilytothesenses.Trueart,ontheotherhand,isno
3、tmerelyamatterofpleasure.Itmaybeunpleasant.AfavoriteShavianmetaphorforthefunctionoftheartsisthatoftooth-pulling.Evenifthepatientisunderlaughinggas,thetoothisstillpulled・Thehistoryofaestheticsaffordsmoreexamplesofadidacticthanofahedonistview.ButShaw'sdidacticismtake
4、sanunusualturninitsapplicationtothehistoryofarts.If,asShawholds,ideasareamostimportantpartofaworkofart,andif,ashealsoholds,ideasgooutofdate(gooutofdate:过时)，itfollowsthateventhebestworksofartgooutofdateinsomeimportantrespectsandthatthegenerallyheldviewthatgreatworks
5、areinallrespectseternalisnotsharedbyShaw.IntheprefacetoThreePlaysforPuritans,hemaintainsthatrenewalintheartsmeansrenewalinphilosophy,thatthefirstgreatartistwhocomesalongafterarenewalgivestothenewphilosophyfullandfinalform,thatsubsequentartists,thoughevenmoregifted,
6、candonothingbutrefineuponthemasterwithoutmatchinghim.Shaw,whoseessentialmodestyisasdisarmingashisposeofvanityisdisconcerting,assignstohimselftherole,notofthemaster,butofthepioneer,theroleofaMarloweratherthanofaShakespeare.“Thewhirligigoftimewillsoonbringmyaudiences
7、tomyownpointofview/*hewrites,“andthenthenextShakespearethatcomesalongwillturnthesepettytentativesofmineintomasterpiecesfinalfortheirepoch.^^“Finalfortheirepoch”一evenShakespeareanmasterpiecesarenotfinalbeyondthat.Noone,saysShaw,willeverwriteabettertragedythanLearora
8、betteroperathanDonGiovanniorabettermusicdramathanDerRingdesNibelungen;butjustasessentialtoaplayasthisaestheticmeritismoralrelevaneewhich,ifwetake
