单选题 American mythology loves nothing more than the reluctant hero: the man whose natural talents have destined him for more than obliging obscurity. George Washington, we are told, was a leader who would have preferred to have been a farmer. Thomas Jefferson, a writer. Martin Luther King, Jr., a preacher. These men were roused from lives of perfunctory achievement, our legends have it, not because they chose their own exceptionalism, but because we, the people, chose it for them. We—seeing greatness in them that they were too humble to observe themselves—conferred on them uncommon paths. Historical circumstance became its own call of duty, and the logic of democracy proved itself through the answer.
Neil Armstrong was a hero of this stripe: constitutionally humble, circumstantially noble. Nearly every obituary written for him this weekend has made a point of emphasizing his sense of privacy, his sense of humility, his sense of the ironic ordinary. And yet every aspect of Armstrong"s life made clear: On that day in 1969, he acted on our behalf, out of a sense of mission that was communal rather than personal. The reluctant hero is also the self-sacrificing hero.
And so Armstrong was an icon fit for America"s particular predilections: one who made history, yet one who recognized the ultimate contingency of his own history-making. One who, Washington-like, preferred quiet retirement over continued fame. "Nothing is more typical of Armstrong, or more estimable," Anthony Lane put it, "than his decision not to go into politics; heaven knows what the blandishments, or the invitations, must have been. And Armstrong, by dint of being the first man to tread not upon terra firma but upon the gray dust of terra incognita, rose above the fray and stayed there."
And so Armstrong"s loss is not merely a loss for all the obvious reasons, but also because it signals a small shift in American mythology. If Armstrong"s was the age of the reluctant hero, ours is the age of adamant heroism. Our icons strive and struggle and seek. Our familiar figures are people who, whether or not their talents entitle them to it, explicitly sought their own fame.
That is largely to the good. It means a democratic culture, a culture where systematized notions of merit—based on race, based on class—dissolve into the broader cultural will. But it also means a shift in how we see success and ourselves as seekers of it. The tension Armstrong embodied so succinctly—publicity on the one hand, humility on the other—is dissipating. The humility factor is dissolving into a culture that often equates fame with power. Our current icons are less the people who have been called to duty, and more the people who have battled their way into it—the subjects, rather than the predicates, of their own greatness. The reluctant hero is diminishing. Armstrong"s passing signals an end to that myth.

单选题 What does the author intend to illustrate with Martin Luther King, Jr. and Thomas Jefferson?

单选题 What do Armstrong and Washington have in common?

单选题 The transit in American mythology could be reflected in ______.

单选题 Which of the following statements can best describe our current icons?

单选题 The text could be best entitled ______.