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  3. Anniversaries are the opium of museums, publishers, theaters and opera houses. Fixing their eyes on some round-number birth or d

Anniversaries are the opium of museums, publishers, theaters and opera houses. Fixing their eyes on some round-number birth or d

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问题   Anniversaries are the opium of museums, publishers, theaters and opera houses. Fixing their eyes on some round-number birth or death date of a major creator, they start planning to cash in years before. For 2006, birthdays are the winning numbers: Rembrandt’s 400th; Mozart’s 250th; and the 100th for Samuel Beckett and Dmitri Shostakovich.
  The Dutch have organized a score of Rembrandt shows, starting appropriately with an exhibition based around his mother in the town of his birth, Leiden. Mozart’s music will be heard more than usual in churches, concert hails and opera houses around the world, with his birthplace, Salzburg, once again trying to compensate for the indifference it showed him during his lifetime.
  But do such anniversaries and accompanying celebrations serve much purpose? Are they just marketing devices to sell tickets to museums and performances? Or do they help draw the attention of younger generations to the giants of Western culture who at times seem crowded out by the pygmies of popular culture?
  As it happens, the practice is not new. The birth of Bardolatry, or Shakespeare worship, is generally traced to the Shakespeare Jubilee, which was organized by the actor-manager David Garrick to celebrate the 200th anniversary of the playwright’s birth (the jubilee was actually held in 1769, five years after the anniversary, but presumably time was more flexible in those days).
  Until then, perhaps surprisingly, Shakespeare was not doing too well. The popularity of many of his plays did not survive the l8-year-long closure of London’s theaters during the Civil War and Cromwell’s rule. Then, after theaters reopened in 1660 with the Restoration of the monarchy, several of his major works -- "Richard Ⅲ" and "King Lear" among them -- were drastically revised by other playwrights.
  Today, Mozart, for one, is hardly in need of revival. No opera house plans a season these days without including at least one of his stage masterpieces: "Le Nozze di Figaro", "Don Giovanni", "Cosi fan tutte" and "Die Zauberflote". His "Requiem", "Coronation Mass" and other sacred works are regularly performed. His instrumental works -- he wrote hundreds -- keep soloists and orchestras busy throughout the year.
  A more interesting reflection for Jan. 27, the 250th anniversary of his birth, is: how would Western culture have fared without Mozart?
  True, the same question might be asked of myriad great artists who have bequeathed beauty, emotion and understanding. Yet Mozart was unique, not only because he excelled in every kind of music (while, say, Verdi and Wagner were great composers only of opera), but also because, more even than Bach, he turned listening into a deeply personal experience.
  There is that perennial: who killed Mozart? In Peter Schaffer’s 1979 play, "Amadeus", adapted as an Oscar-winning movie by Milos Forman in 1984, the finger of guilt was pointed at Mozart’s contemporary, Antonio Salieri. But even that charge was old hat: Pushkin first raised it in his 1830 play, "Mozart and Salieri", which Rimsky-Korsakov adapted as an opera in 1897. Still, the question is again being trotted out for the anniversary.
  No such mystery surrounds Rembrandt’s life or death. But if his greatness was only fully recognized in the 19th century, he certainly is in need of no anniversary "special offers" to be admired today. His more than 600 oils are in collections around the world and, whenever selected for exhibitions, they draw huge crowds.
  The organizers of Rembrandt 400, as the anniversary has been tagged, evidently again have crowds in mind, hoping that some 250,000 people will travel to the Netherlands for the occasion.
  Will Rembrandt’s fans cross paths with those of Mozart?
If they did, they might find that their idols have something in common. In his 75 or so self portraits, recording his passage from youth to old age, Rembrandt seems to offer a window into his soul. Cannot Mozart’s compositions also be considered as self-portraits? Certainly, it is by displaying their intimacy that they share their genius with us.
  But of course only time will define their place in the pantheon. As happened to Rembrandt and many others, great artists are often forgotten before they are enshrined by posterity. After that, thankfully, anniversaries make little difference.  
Which of the following about Shakespeare can NOT be inferred from the passage?
选项 A、He became more and more famous after 1769.
B、He was born in 1564.
C、He was not so famous before 1769.
D、His works were especially welcomed by people around 1660.
答案D
解析 推断题。第五段段首说1769年前莎翁不是很出名，还提到1660年后莎翁的几部重要作品都被改得面目全非，可见选项D说1660年左右他的作品特别受欢迎是错误的，故选 D。第四段说在1769年大卫加里克组织了莎士比亚诞辰200周年纪念；接着提到在此之前，莎翁并不是很有名，排除C；第五段说此后莎翁越来越有名，排除A；第四段段末说 1769年这次所谓的莎翁诞辰200周年纪念，实际上晚了5年，由此推知他是1564年出生的，排除B。
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