《宇宙波瀾》( Disturbing The Universe by Freeman Dyson (1923~2020) (英文本1979 書名出自The Love Song of J. Alfred Prufrock 第7章章名 《攀登F6峯》詩歌，末引歐本海默喜歡的詩歌《項圈》1633年發表的一首詩，收錄於赫伯特詩集《聖殿》)
第7章章名 《攀登F6峯》詩歌)，末引歐本海默喜歡的詩歌
"The Collar" is a poem by Welsh poet George Herbert published in 1633, and is a part of a collection of poems within Herbert's book The Temple.[1] The poem depicts a man who is experiencing a loss of faith and feelings of anger over the commitment he has made to God. He feels that his efforts in committing himself to his faith have been fruitless, and begins to manifest a life for himself without religious parameters. He denounces his commitments and proclaims himself "free". The poem's themes include the struggle with one's beliefs and the desire for autonomy in defiance of religious restriction. The speaker is trying to create his own limits, to lead himself, rather than following God. He tries to convince himself that a life of freedom will bring him the satisfaction that his faith has failed to provide.
The Collar
Modern Version
The Collar
I struck the board, and cried, "No more;
I will abroad!
What? shall I ever sigh and pine?
My lines and life are free, free as the road,
Loose as the wind, as large as store.
Shall I be still in suit?
Have I no harvest but a thorn
To let me blood, and not restore
What I have lost with cordial fruit?
Sure there was wine
Before my sighs did dry it; there was corn
Before my tears did drown it.
Is the year only lost to me?
Have I no bays to crown it,
No flowers, no garlands gay? All blasted?
All wasted?
Not so, my heart; but there is fruit,
And thou hast hands.
Recover all thy sigh-blown age
On double pleasures: leave thy cold dispute
Of what is fit and not. Forsake thy cage,
Thy rope of sands,
Which petty thoughts have made, and made to thee
Good cable, to enforce and draw,
And be thy law,
While thou didst wink and wouldst not see.
Away! take heed;
I will abroad.
Call in thy death's-head there; tie up thy fears;
He that forbears
To suit and serve his need
Deserves his load."
But as I raved and grew more fierce and wild
At every word,
Me thought I heard one calling, Child!
And I replied My Lord.[2]
Original Version
The Collar
I struck the board, and cry'd, No more,
I will abroad.
What? Shall I ever sigh and pine?
My lines and life are free; free as the rode,
Loose as the winde, as large as store.
Shall I be still in fruit?
Have I no harvest but a thorn
To let me bloud, and not restore
What I have lost with cordiall fruit?
Sure there was wine
Before my sighs did drie it: there was corn
Before my tears did drown it.
Is the yeare onely lost to me?
Have I no bayes to crown it?
No flowers, no garlands gay? All blasted?
All wasted?
Not so, my heart: but there is fruit,
And thou hast hands.
Recover all thy sigh-blown age
On double pleasures: leave thy cold dispute
Of what is fit, and not forsake thy cage,
Thy rope of sands,
Which pettie thoughts have made, and made to thee
Good cable, to enforce and draw,
And by thy law,
While thou didst wink and wouldst not see.
Away; take heed:
I will abroad.
Call in thy deaths head there: tie up thy fears.
He that forbears
To suit and serve his need,
Deserves his load.
But as I rav'd and grevv more fierce and wilde
At every word,
Me thoughts I heard one calling, Childe:
And I reply'd, My Lord.[3]
'
《宇宙波瀾》( Disturbing The Universe by Freeman Dyson (1923~2020) (英文本1979 書名出自The Love Song of J. Alfred Prufrock 第7章章名 《攀登F6峯》詩歌，末引歐本海默喜歡的詩歌《牧師項圈/領圈為1633年發表的一首詩，收錄於赫伯特詩集《聖殿》--這詩集生前託摯友評判是否值得出版。)
雖然90年代讀過《宇宙波瀾》，記憶最深的是他的家教，2025年讀到 第7章章名 《攀登F6峯》詩歌，末引歐本海默喜歡的詩歌《項圈》1633年發表的一首詩，收錄於赫伯特詩集《聖殿》
麥克勞德（Henry McCloud）認為，領子「不過是將襯衫領子翻下來，蓋在牧師日常的普通服飾上，以順應16世紀末開始的一種時尚。因為當平信徒開始翻下領子時，神職人員也紛紛效仿。」[10] 牧師領最初由長老會發明，很快就被其他基督教會派別，包括聖公會教司隨宗。 [7][4] 自1884年起，美國天主教神父必須配戴牧師領。 [11] 1960年代，許多生活在天主教主導的國家的神職人員也開始佩戴牧師領，而不是法衣或長袍。在強調講道為中心的改革宗傳統中，牧師經常佩戴從牧師領中伸出的講道徽章。 [12]聖公會神職人員也會戴上講道帶（tab 的另一種說法），特別是在入會儀式等場合，屆時會穿著唱詩班的長袍、法衣、講道圍巾和與學位相關的學位帽，以及晨禱和晚禱。衛理公會和路德會的神職人員有時也會將講道帶繫在牧師領上。在英國（以及其他受英國影響的國家，例如加拿大），自19世紀中葉以來，完整的牧師領被非正式地稱為“狗項圈”[2][13]。 [14] 羅馬領相當於“牧師領”，並不一定意味著佩戴者是羅馬天主教徒。 [15]Henry McCloud stated that the collar "was nothing else than the shirt collar turned down over the cleric's everyday common dress in compliance with a fashion that began toward the end of the sixteenth century. For when the laity began to turn down their collars, the clergy also took up the mode."[10] Invented in the Presbyterian Church, the clerical collar was quickly adopted by other Christian denominations, including the Anglican Church, and subsequently by Methodist churches, Baptist churches, Catholic churches and the Lutheran churches.[7][4] It was mandatory for U.S. Catholic priests starting in 1884.[11] In the 1960s, many clergy who lived in countries where Catholicism was the dominant religion also began to wear the clerical collar rather than the soutane or cassock.
In the Reformed tradition, which stresses preaching as a central concern, pastors often don preaching tabs, which project from their clerical collar.[12] Preaching bands (an alternative name for tabs) are also worn by Anglican clergy, particularly on occasions such as inductions when choir dress of cassock, surplice, preaching scarf and the academic hood pertaining to degree is worn, as well as at Mattins and Evensong. Methodist and Lutheran clergy also sometimes attach preaching bands to their clerical collars.
In the United Kingdom (and other British-influenced countries, such as Canada), full clerical collars have been informally referred to as "dog collars"[2][13] since the mid-nineteenth century.[14] The term Roman collar is equivalent to "clerical collar" and does not necessarily mean that the wearer is Roman Catholic.[15]
The title of the poem, The Collar, is symbolic; it seems to represent the relationship between the man within the poem and God. "Collar" in this poem may refer to a clerical collar, which priests wear as a religious symbol. To take off the collar is to revoke one's dedication to ministry. The title may also refer to the term "to slip the collar" or to slip out and avoid the restraints of the church.
Herbert portrays the collar as a form of restraint for priests and as a play on words, conveying that the collar can be seen as one for a slave to it, or rather to Christianity. A collar, after all, is a restrictive garment, often a symbol of ownership. Paul M. Levitt and Kenneth G. Johnston introduce the idea that the use of the word "collar" by Herbert can be seen in a nautical sense—as the rope that supports and maintains the main mast of a ship, preventing it from moving from its position.[4] Levitt and Johnston compare the poem's speaker to the mast of a ship, and the mast of the ship to a clerical collar: each are being held in place by restraints.
There is also the possibility that the poem uses the title sonically, because "collar" sounds like the words "caller" and "choler." Dale B. J. Randall points out that this poem is a story of a choleric man who has a burst of strong emotion, connecting the illness to the line "...But as I raved and grew more fierce and wild...".[citation needed] Randall also points out that the pun pertaining to "caller" is the idea that the "caller" is God, who is calling on the speaker in the line, "Me thought I heard one calling Child..." at the end of the poem.
Barbara Leah Harman points out that the beginning of the poem starts at the end of a man's journey and the beginning of a new one. The speaker isn't a "present-tense speaker" but a "duplicator of present-tense speech". Harman explains the speaker has reaped what he has sown, and the poem signifies the use of the word "harvest" as metaphorical, meaning the fruit of his labor has not been bountiful.[5]
Freeman Dyson on Feynman's Sum-Over-Histories Approach in "Disturbing the Universe":
"Dick fought back against my skepticism, arguing that Einstein had failed because he stopped thinking in concrete physical images and became a manipulator of equations. I had to admit that was true.
費曼路徑求和（或歷史求和）方法的基本想法如下：假設一個粒子可以透過無數條不同的路徑（可能是無限條）在 A 點和 B 點之間運動。每條路徑都有一定的機率。 2011 年 2 月 6 日 理查費曼的「路徑求和」方法是什麼…
The basic idea behind Feynman's sum-over-paths (or sum-over-histories) approach is as follows: Assume that a particle can travel between two points A and B by a - possibly infinite - number of different paths. Each one of these paths will have a certain probability associated with it.Feb 6, 2011What is Richard Feynman's 'sum-over-paths' approach to ...
The great discoveries of Einstein's earlier years were all based on direct physical intuition. Einstein's later unified theories failed because they were only sets of equations without physical meaning. Dick's sum-over-histories theory was in the spirit of the young Einstein, not of the old Einstein. It was solidly rooted in physical reality."
戴森
全球知名科學家、科學作家，曾為普林斯頓高研院名譽教授。
戴森為量子電動力學第一代巨擘，二十九歲即成為普林斯頓高研院教授。曾協助設計TRIGA反應爐、獵戶座太空船，也受美國政府邀請擔任國防部、航太總署、裁軍署等單位的顧問；積極參與公眾事務，對於全球暖化、軍備裁減、禁絕核武等議題皆有建樹。他延伸構想的「戴森球」概念，影響了全世界的科幻作品。即使高齡，但仍不減熱忱，他在八十九歲與同事共同發表的賽局理論新解，為賽局研究注入了活水。
戴森一生優游於數學、物理、核能工程、天文、生命科學等領域，志在探索未知的世界。他不僅是極為優秀的科學大師，更是關心人類命運，嚮往無限宇宙的睿智哲人。
推波助瀾更待誰？ 李國偉
《宇宙波瀾》出版於1979年，是戴森五十六歲時寫給非專業讀者的第一本書，之後三十餘年間又出版過九本這類書，然而此書「字字發自肺腑，比其他幾本書投注更多的心血與情感。」如果只允許一本書流傳後世的話，他會選擇這本。
戴森的成就跨越數論、量子電動力學、固態物理、天文物理、核能技術、生命科學等等。他曾經表示在追求科學真理的道路上，並沒有恢弘的藍圖，看到喜歡的問題與素材就擁入懷抱，應屬「解決問題的人，而非創造思想的人」。這是戴森自謙的說法，他其實已是發揚科學文化的思想大師。「科學文化」比一般簡化科學知識、引起常民興趣的「科普」範圍更為廣泛，這種寫作把科學納入文化的脈絡，帶領讀者以宏觀視野與人文關懷，觀察、檢討、評估、預想科學對於人類的深刻影響。
弗里曼戴森在《擾亂宇宙》中談到費曼的「歷史求和」方法時說道：「迪克反駁了我的懷疑，他認為愛因斯坦之所以失敗，是因為他不再用具體的物理圖像思考，而是變成了一個方程式的操縱者。我不得不承認這是事實。愛因斯坦早年的偉大發現都基於直接的物理直覺。
----
The great discoveries of Einstein's earlier years were all based on direct physical intuition. Einstein's later unified theories failed because they were only sets of equations without physical meaning. Dick's sum-over-histories theory was in the spirit of the young Einstein, not of the old Einstein. It was solidly rooted in physical reality."
《宇宙波瀾》, Disturbing The Universe by Freeman Dyson (書名出自The Love Song of J. Alfred Prufrock)
科學棋談
〈從量子力學到太空文明——思索人類未來的人〉普林斯頓高等研究院，少數頂尖學者方能受邀進駐的學術殿堂。在這裡不須教書、不須產出論文，完全不受俗務干擾，只須專心思考；愛因斯坦、馮·紐曼、哥德爾、狄拉克、包立、李政道與楊振寧、……等大破大立的科學巨擘都曾在此駐足。在這柏拉圖天空的繁星之中，卻有一位連博士學位都沒有，而且不像其他學者來來去去，他一待就超過一甲子，直到2020年過世為止。這位與眾不同的科學家就是今天恰逢百歲冥誕的戴森（Freeman Dyson）。他於1923年12月15日出生在英格蘭一個人口不到萬人的小鎮，自小嶄露數學天份，四歲時就曾試圖計算太陽有多少原子；他姊姊記得年幼的他總是被百科全書包圍著，不時埋首在紙上做計算。當時物理學家想要結合量子力學與狹義相對論，建立量子電動力學，以便正確描述光與帶電粒子間的交互作用，但是在計算過程中卻會產生無限大的數值，顯然與實際不符。為了解決這個問題，費曼在1948年發展出費曼圖來表述路徑積分，成功透過重整化抵消無限大。但是這種圖解的方式與傳統數學大相逕庭，令當代的物理學家感到愕然而難以接受；當時唯一的知音就只有戴森。在此同時，哈佛大學教授施溫格（Julian S. Schwinger）與日本的朝永振一郎教授也各自以正統方法，發表重整化的方程式，只不過相當複雜。戴森很快看出他們的方程式和費曼圖可互相對應，兩者其實是一體的兩面，他於1949年發表論文，闡述兩者的連結，為量子電動力學的完備性補上臨門一腳。最後費曼、施溫格與朝永振一郎三人共同獲頒1965年的諾貝爾物理學獎。施溫格與楊振寧都為戴森沒有得獎而大抱不平，但戴森自己倒是不以為意，他說：「如果你想贏得諾貝爾獎，就應該長期專注於某個深刻而重要的問題，至少十年不放。這可不是我的風格。」是的，戴森在普林斯頓高等研究院中猶顯得風格迴異。院長歐本海默於1953年提供他終身職時，大概以為聘到一位量子力學的理論物理學家，不料三年後他就和氫彈之父泰勒一起合作，為通用動力公司設計絕對安全的核反應爐 TRIGA (因為溫度上升時，所使用的鈾氫鋯核燃料的反應速率反而會下降)。至今這種反應爐仍在世界各地的醫院、大學和研究機構使用中（我國清華大學校園內的核反應爐也是這型）。1957年，戴森乾脆請假一年，跑去參加民間發起的獵戶座計畫，幫忙設計以核能為動力的火箭，用來探索太空。不過這計畫後來因為1963年的《部分禁止核試驗條約》國際公約而終止；戴森自己正是推動這項公約的主要人物之一，因為他見到美蘇的核武競賽越演越烈，寧可放棄核能的發展。但戴森從未放棄探索宇宙的熱情。他除了寫過中子星、脈衝星等天文物理的論文，他還拋出許多極具創意的點子，例如在彗星上種植基因改造的樹(「戴森樹」，Dyson Tree)；只有一公斤重、可利用星塵為材料進行自我複製的自動機(「星雞」，Astrochicken) 適合漫長的太空旅行；還有將整個恆星包圍起來的「戴森球」(Dyson Sphere)，如此便可汲取恆星的所有熱輻射做為能源，供人類進行大規模的太空移民。戴森曾引用哲學家柏林（Isaiah Berlin）的比喻，將偉大的科學家分成兩種：狐狸與刺蝟。他說：「狐狸對每件事都感興趣，總是輕易地從一個問題跳到另一個問題。刺蝟只對少數他們認為是基本的問題感興趣，而且會花上數年或數十年的時間在同一個問題上。偉大發現大多是刺蝟找到的，多數小發現則是狐狸找到的。科學需要刺蝟也需要狐狸才能健康成長，刺蝟深入挖掘事物的本質，狐狸則探索我們這神奇宇宙的複雜細節。愛因斯坦是隻刺蝟，費曼則是隻狐狸。」戴森當然也是狐狸，而且是隻眺望未來、思索人類文明何去何從的狐狸。按：本文改寫自收錄於《 #科學史上的今天》的〈科學需要刺蝟，也需要狐狸〉
Disturbing The Universe (Sloan Foundation Science Series ...
書名Disturbing The Universe 出自TS Eliot 的詩
The Love Song of J. Alfred Prufrock
The Love Song of J. Alfred Prufrock - Poetry Foundation
Disturb the universe? In a minute there is time. For decisions and revisions which a minute will reverse. For I have known them all already, known them all:.
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