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2017中級(jí)翻譯資格考試筆譯模擬題（附答案）
【第一題】
奧林匹克運(yùn)動(dòng)的生命力和非凡魅力在于在奧林匹克運(yùn)動(dòng)中居核心地位的奧林匹克精神。體育的目的在于追求人類身心全面發(fā)展，并在此基礎(chǔ)上促進(jìn)社會(huì)的 發(fā)展和進(jìn)步�，F(xiàn)代奧林匹克運(yùn)動(dòng)的創(chuàng)始人顧拜旦(Pieere de Coubertin)認(rèn)為體育是全人類的一項(xiàng)偉大事業(yè)。他將奧林匹克運(yùn)動(dòng)的目標(biāo)設(shè)定為促進(jìn)不同國(guó)家、不同文化之間的相互理解，從而促進(jìn)和維護(hù)世界和平，推進(jìn)人類文明。這一理想使奧林匹克運(yùn)動(dòng)得以經(jīng)百年而不衰。作為全世界奧林匹克大家庭成員的一個(gè)盛大聚會(huì)，奧林匹克運(yùn)動(dòng)已經(jīng)成為促進(jìn)世界和平、進(jìn)步與發(fā)展的一只重要社會(huì)力量。
參考答案：
The vitality and special appeal of the Olympic Games lie in the Olympic spirit, which is the soul of the soul of the Games. The goal of sports is to pursue comprehensive physical and mental development and, on the basis of this, to accelerate social progress. Pierre de Coubertin, founder of the modern Olympiad, considered sports a great undertaking of humanity. The goal of the Olympic Movement defined by him is to promote undertaking among different countries and cultures, maintain world peace and advance human civilization. This ideal has enabled the Olympic Games to thrive for more than a century. The Olympic Games have been a grand gathering of members of the Olympic family throughout the world, and the Olympic Movement has become a major social force to promote world peace, progress and development.
【第二題】
人們通常喜歡聽好聽的話，一聽到拂耳之言就容易產(chǎn)生不悅甚至慍怒。一個(gè)人特別是身居要職的人要能夠心悅誠(chéng)服地傾聽逆耳之良言并從中獲得智慧，就需要一種容忍和大度的雅量，而這往往依賴于人們的心性修養(yǎng)和對(duì)人性缺陷的克制;否則，就會(huì)給那些善于運(yùn)用花言巧語和投其所好的人提供可乘之機(jī)，并傷害那些直言不諱的忠誠(chéng)之人。
在理智上，人們大概愿意接受“兼聽則明，偏信則暗”、“忠言逆耳利于行”等一類古老的真理，或者樂于信服老子說的“美言不信，信言不美”的哲理。但在行為上，人們又時(shí)常背離這些古訓(xùn)，不愿意聽或聽不進(jìn)“逆耳”之言，”最終犯下嚴(yán)重的過失。
【參考譯文】
We tend to hear words pleasant to the ear but have displeasure and resentment at words harsh to the ear. A man, especially one occupying an important position, needs tolerance and magnanimity to lend an ear to truthful yet offensive words with heartfelt admiration so as to gain wisdom from them, and those qualities can be only cultivated through the nurturing of the soul and the restraint in human weaknesses. Otherwise, opportunities are exploited to the advantage of those with sweet words on the lips to tickle the ear of others, only to hurt those loyal people outspoken in their remarks.
Intellectually, we are probably willing to believe in the ancient truths that we’ ll be enlightened if we listen to both sides and we will be benighted if we heed only one side, that honest advice, though unpleasant to the ear, benefits conduct. Also, we are delightfully convinced of Laotzi’s philosophy that true words are not embellished and the embellished words are not true. However, in our behaviours, we tend to depart from those estabilished maxims, reluctant to accept and follow those uncomfortable truths until eventually grave errors are committed.
【第三題】
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：
《人類的進(jìn)程》一書的提綱初稿是1969年7月完成的，影片的最后一部分是在1972年12月拍攝的。像這樣大的一個(gè)項(xiàng)目，雖然異常精彩，令人激動(dòng)，卻并不是輕易上馬的。它要求我保持旺盛的腦力和體力，專心致志地投入工作。我必須確保持之以恒，并從中得到樂趣;比方說，我不得不停下已經(jīng)開始的研究工作;我還應(yīng)當(dāng)說明一下，究竟是什么促使我承擔(dān)這項(xiàng)工作的。
二十年來，科學(xué)的發(fā)展趨勢(shì)發(fā)生了深刻的變化：關(guān)注的焦點(diǎn)已經(jīng)從自然科轉(zhuǎn)移到生命科學(xué)。結(jié)果，便把科學(xué)越來越吸引到個(gè)體特征的研究上來。然而感興趣的旁觀者幾乎沒有意識(shí)到此事對(duì)于改變科學(xué)塑造的人的形象產(chǎn)生了多么深遠(yuǎn)的影響。我是一個(gè)研究數(shù)學(xué)的人，以前學(xué)過物理學(xué)，若不是中年有幸有幾次機(jī)會(huì)涉足生命科學(xué)，我也不會(huì)有所認(rèn)識(shí)。我應(yīng)當(dāng)感謝我交的好運(yùn)，是它使我在一生中參與了兩個(gè)啟發(fā)性的科學(xué)領(lǐng)域。盡管我并不知道應(yīng)該向誰表示感謝，我編寫了《人類的進(jìn)程》一書，以表示我的感激之情。
英國(guó)廣播公司邀請(qǐng)我做的是通過一套電視節(jié)目來表現(xiàn)科學(xué)的發(fā)展過程，以與克拉克勛爵制作的關(guān)于文明的電視節(jié)目相匹配。通過電視來進(jìn)行解說有幾大好處：它有力、直觀，能使觀眾身臨其境或親身參與所描述的過程，它的語言親切，能使觀眾覺得他所看到的是人們的行動(dòng)而不是事件。這些優(yōu)點(diǎn)之中，我認(rèn)為最后一點(diǎn)最為突出，它是一股最大的動(dòng)力促使我同意以電視散文的方式從個(gè)人的角度來講述各種思想的發(fā)展史。重要的是知識(shí)總體，尤其是科學(xué)知識(shí)不是由抽象的思想構(gòu)成的，而是由人的思想構(gòu)成的，自有知識(shí)開始直到現(xiàn)代千奇百怪的模式莫不是如此。所以介紹打開自然界之門的基本思想，必須表現(xiàn)出它們很早就已產(chǎn)生，而且是產(chǎn)生在人類最淳樸的文化之中，產(chǎn)生于人類基本的、具體的感官之中。同時(shí)還必須表現(xiàn)出使種種思想形成越來越復(fù)雜的結(jié)合體的科學(xué)的發(fā)展也同樣是人類的貢獻(xiàn)：種種發(fā)現(xiàn)都是人的產(chǎn)物，而不僅僅是頭腦的產(chǎn)物，因此它們都是有生氣的，而且具有個(gè)人的特色。如果電視未能把這些思想表現(xiàn)得很具體，那豈不是浪費(fèi)!
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