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.
参考答案：
不是因为我们害怕看到他会因失误而给他辉煌的生涯画上遗憾的一笔。从善意的角度说，我们想让迈克知道，我们仍然欣赏他，至少在我们的记忆中，他仍然是英雄。事实上，我们不想让他重返球场，即使他是迈克尔·乔丹。我们觉得这是个贸然之举，我们不想看到自信的商标蜕变成一种自负的象征。我们不想让他重返球场，因为没有人喜欢卖弄。失误呢?那将会很有趣。
但是我们是有着225年乐观历史的美国人，我们都是好心人。当乔丹几天前宣布他将在九月重返NBA时，我们曾为之一振。宣布的前一天，他说过：“我盼望能打球，并希望事情能如愿以偿。有些人怀疑，有些人紧张，都属正常。”《时代》周刊和美国有线新闻网上周做的一项民意调查表明，每两个美国人当中就有一个人希望乔丹尽快重返赛场。只有21%的人们认为，如果他的重返导致一场彻底失败，将会损害他的传奇。事实上只有28%的人认为运动员应该在他的运动巅峰时期引退。
与乔丹关系密切的人告诉《时代》周刊，当乔丹第一次谈到重返它与其他人共同拥有的华盛顿奇才队并为之效力时，一些他最信任的顾问试图私下打消他的愿望。“但他们说，如果试图阻止他，只能鉴定他的决心，”一位NBA人士如是说。
乔丹复出所产生的问题不仅仅在于他不可能重现1998年的神话，那一年，他以一个精彩的最后一秒投篮，使球队赢得了冠军，也为自己赢得了第六只金指环。问题是他重返的动机——他需要人们的关注，需要在38岁体力不支时，仍然打球。这一切都有悖于他所创造的神话——一个展示绝对控制力的神话。如果说二十世纪的第一个球星巴比·鲁斯是一个身材魁梧肥胖的鲁莽之夫和酒鬼天才，乔丹则证明了刚毅所能带来的优雅风度，并以此结束了二十世纪。巴比对观众的颐指气使被乔丹无奈耸肩的魅力所取代。乔丹代表着成功，因为他的名字没有被他的政治倾向、他的观点或是他的超级明星个性所玷污。乔丹迷就是典雅和自信迷。
乔丹并不在乎我们在想什么。他的朋友说：他把所有奉劝他不要复出的文章都贴在冰箱上作为激励。那么，我们为什么还要喋喋不休地告诉他不要复出呢?他依然是迈克尔·乔丹。
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