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2017上半年CATTI二級筆譯模擬練習（附答案）
【原文】
The first outline of The Ascent of Man was written in July 1969and the last foot of film was shot in December 1972. An undertaking aslarge as this, though wonderfully exhilarating, is not entered lightly. It demands an unflagging intellectual and physical vigour, a total immersion, which I had to be sure that I could sustain with pleasure; for instance, Ihad to put off researches that I had already begun; and I ought to explai-n what moved me to do so.
There has been a deep change in the temper of science in the last20 years: the focus of attention has shifted from the physical to the life sciences. As a result, science is drawn more and more to the study of in-dividuality. But the interested spectator is hardly aware yet how far-reaching the effect is in changing the image of man that science moulds. Asa mathematician trained in physics, I too would have been unaware, had not a series of lucky chances taken me into the life sciences in middle age. I owe a debt for the good fortune that carried me into two seminal fields of science in one lifetime; and though I do not know to whom the debt is due, I conceived The Ascent of Man in gratitude to repay it.
The invitation to me from the British Broadcasting Corporation was to present the development of science in a series of television programmes to match those of Lord Clark on Civilisation. Television is an admirable medium- for exposition in several ways: powerful and immediate to the eye, able to take the spectator bodily into the places and processes that are described, and conversational enough to make him conscious that what he witnesses are not events but the actions of people. The last of these merits is to my mind the most cogent, and it weighed most with me in agreeing to cast a personal biography of ideas in the form of television essays. The point is that knowledge in general and science in particular does not consist of abstract but of man-made ideas, all the way from its beginnings to its modern and idiosyncratic models. Therefore the underlying concepts that unlock nature must be shown to arise early and in the simplest cultures of man from his basic and specific faculties. And the development of science which joins them in more and more complex conjunctions must be seen to be equally human: discoveries are made by men, not merely by minds, so that they are alive and charged with individuality. If television is not used to make these thoughts concrete, it is wasted.
參考答案：
不是因為我們害怕看到他會因失誤而給他輝煌的生涯畫上遺憾的一筆。從善意的角度說，我們想讓邁克知道，我們仍然欣賞他，至少在我們的記憶中，他仍然是英雄。事實上，我們不想讓他重返球場，即使他是邁克爾·喬丹。我們覺得這是個貿然之舉，我們不想看到自信的商標蛻變成一種自負的象征。我們不想讓他重返球場，因為沒有人喜歡賣弄。失誤呢?那將會很有趣。
但是我們是有著225年樂觀歷史的美國人，我們都是好心人。當喬丹幾天前宣布他將在九月重返NBA時，我們曾為之一振。宣布的前一天，他說過：“我盼望能打球，并希望事情能如愿以償。有些人懷疑，有些人緊張，都屬正常。”《時代》周刊和美國有線新聞網上周做的一項民意調查表明，每兩個美國人當中就有一個人希望喬丹盡快重返賽場。只有21%的人們認為，如果他的重返導致一場徹底失敗，將會損害他的傳奇。事實上只有28%的人認為運動員應該在他的運動巔峰時期引退。
與喬丹關系密切的人告訴《時代》周刊，當喬丹第一次談到重返它與其他人共同擁有的華盛頓奇才隊并為之效力時，一些他最信任的顧問試圖私下打消他的愿望。“但他們說，如果試圖阻止他，只能鑒定他的決心，”一位NBA人士如是說。
喬丹復出所產生的問題不僅僅在于他不可能重現1998年的神話，那一年，他以一個精彩的最后一秒投籃，使球隊贏得了冠軍，也為自己贏得了第六只金指環。問題是他重返的動機——他需要人們的關注，需要在38歲體力不支時，仍然打球。這一切都有悖于他所創造的神話——一個展示絕對控制力的神話。如果說二十世紀的第一個球星巴比·魯斯是一個身材魁梧肥胖的魯莽之夫和酒鬼天才，喬丹則證明了剛毅所能帶來的優雅風度，并以此結束了二十世紀。巴比對觀眾的頤指氣使被喬丹無奈聳肩的魅力所取代。喬丹代表著成功，因為他的名字沒有被他的政治傾向、他的觀點或是他的超級明星個性所玷污。喬丹迷就是典雅和自信迷。
喬丹并不在乎我們在想什么。他的朋友說：他把所有奉勸他不要復出的文章都貼在冰箱上作為激勵。那么，我們為什么還要喋喋不休地告訴他不要復出呢?他依然是邁克爾·喬丹。
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