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"Popular an" has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930’s for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high arc The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular music--folk themes--in works clearly intended as high art. The case of Verdi is a different one: he took a popular genre--bourgeois melodrama set to music (an accurate definition of nineteenth-century opera) and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.As an example of such a transmutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally in the plots of these operas, a hero or heroine--usually portrayed only as an individual, unfettered by class--is caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality, music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.or consider Verdi’s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer’s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi’s characters, on the other hand, have genuine consistency and integrity. Even if, in many cases, the consistency is that of pasteboard melodrama, the integrity of the character is achieved through the music: once he had become established. Verdi did not rewrite his music for different singers or countenance alterations or substitutions of somebody else’s arias in one of his operas, as every eighteenth-century composer had done. When he revised an opera, it was only for dramatic economy and effectiveness. Which of the following best describes the relationship of the first paragraph of the passage as a whole（）
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Biologically, there is only one quality which distinguishes us from animals: the ability to laugh. In a universe which appears to be utterly devoid of humor, we enjoy this supreme luxury. And it is a luxury, for unlike any other bodily process, laughter does not seem serve a biologically useful purpose. In a divided world, a laughter is a unifying force. Human begins oppose each other on a great many issues. Nations may disagree about systems of government and human relations may be plagued by ideological factions and political camps, but we all share the ability to laugh. And laughter, in turn, depends on the most complex and subtle of all-human qualities: a sense of humor. Certain comic stereotypes have a universal appeal. This can best be seen from the world-wide popularity of Charlie Chaplain’s early films. The little man at odds with society never fails to amuse no matter which country we come from. As that great commentator on human affairs, Dr. Samuel Johnson, once remarked, "Men have been wise in very different modes; but they have always laughed in the same way."A sense of humor may take various forms and laughter may he anything from refined tinkle to an earthquaking roar, but the effect is always the same. Humor helps us to maintain a correct sense of values. It is the one quality which political fanatics appear to lack. If we can see the funny side, we never make the mistake of taking ourselves too seriously. We are always reminded that tragedy is not really far removed from comedy, so we never get a lop-sided view of things.This is one of the chief functions of satire and irony. Human pain and suffering are so grim; we hover so often on the brink of war, political realities are usually enough to plunge us into total despair. In such circumstances, cartoons and satirical accounts of somber political events redress the balance. They take the wind out of pompous and arrogant politicians who have lost their sense of proportion. They enable us to see that many of our most profound actions are merely comic or absurd. We laugh when a great satirist like Swift writes about wars in Gulliver’s Travels. The Lilliputians and their neighbors attack each other because they can’t agree which end to break an egg. We laugh because we are meant to laugh; but we are meant to weep too. It is no wonder that in totalitarian regimes any satire against the Establishment is wholly banned. It is too powerful weapon to be allowed to flourish.The sense of humor must be singled out as man’s most important quality because it is associated with laughter. And laughter, in turn, is associated with happiness. Courage, determination, initiative--these are qualities we share with other forms of life. But the sense of humor is uniquely human. If happiness is one of the great goals of life, then it is the sense of humor that provides the key. To which of the following is the author likely to agree（）
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