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Ardhanarishvara

Ardhanarishvara (अर्धनारीश्वर), is a form of the Hindu deity Shiva combined with his consort Parvati. Ardhanarishvara is depicted as half-male and half-female, equally split down the middle.

Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature. The right half is usually the male Shiva, illustrating his traditional attributes.

The earliest Ardhanarishvara images are dated to the Kushan period, starting from the first century CE. Its iconography evolved and was perfected in the Gupta era. The Puranas and various iconographic treatises write about the mythology and iconography of Ardhanarishvara. Ardhanarishvara remains a popular iconographic form found in most Shiva temples throughout India, though very few temples are dedicated to this deity.

Names
The name Ardhanarishvara means "the Lord Who is half woman." Ardhanarishvara is also known by other names like Ardhanaranari ("the half man-woman"), Ardhanarisha ("the Lord who is half woman"), Ardhanarinateshvara ("the Lord of Dance (Who is half-woman), Parangada, Naranari ("man-woman"), Ammaiyappan (a Tamil Name meaning "Mother-Father"), and Ardhayuvatishvara (in Assam, "the Lord whose half is a young woman or girl"). The  Gupta-era writer Pushpadanta in his Mahimnastava refers to this form as dehardhaghatana ("Thou and She art each the half of one body"). Utpala, commenting on the Brihat Samhita, calls this form  Ardha-Gaurishvara ("the Lord whose half is the fair one"; the fair one – Gauri – is an attribute of Parvati). The Vishnudharmottara Purana simply calls this form Gaurishvara ("The Lord/husband of Gauri).

Origins and early images

The conception of Ardhanarishvara may have been inspired by Vedic literature's composite figure of Yama-Yami, the Vedic descriptions of the primordial Creator Vishvarupa or Prajapati and the fire-god Agni as "bull who is also a cow," the Brihadaranyaka Upanishad's Atman ("Self") in the form of the androgynous cosmic man Purusha and the androgynous myths of the Greek Hermaphroditus and Phrygian Agdistis. The Brihadaranyaka Upanishad says that Purusha splits himself into two parts, male and female, and the two halves copulate, producing all life – a theme concurrent in Ardhanarishvara's tales. The Shvetashvatara Upanishad sows the seed of the Puranic Ardhanarishvara. It declares Rudra – the antecedent of the Puranic Shiva – the maker of all and the root of Purusha (the male principle) and Prakriti (the female principle), adhering to Samkhya philosophy. It hints at his androgynous nature, describing him both as male and female.

The concept of Ardhanarishvara originated in Kushan and Greek cultures simultaneously; the iconography evolved in the Kushan era (30–375 CE), but was perfected in the Gupta era (320-600 CE). A mid-first century Kushan era stela in the Mathura Museum has a half-male, half-female image, along with three other figures identified with Vishnu, Gaja Lakshmi and Kubera. The male half is ithyphallic or with an urdhvalinga and makes an abhaya mudra gesture; the female left half holds a mirror and has a rounded breast. This is the earliest representation of Ardhanarishvara, universally recognized. An early Kushan Ardhanarishvara head discovered at Rajghat is displayed at the Mathura Museum. The right male half has matted hair with a skull and crescent moon; the left female half has well-combed hair decorated with flowers and wears a patra-kundala (earring). The face has a common third eye. A terracotta seal discovered in Vaishali has half-man, half-woman features. Early Kushan images show Ardhanarishvara in a simple two-armed form, but later texts and sculptures depict a more complex iconography.

Ardhanarishvara is referred to by the Greek author Stobaeus (c. 500 AD) while quoting Bardasanes (c. 154–222 AD), who learnt from an Indian embassy's visit to Syria during the reign of Elagabalus (Antoninus of Emesa) (218–22 AD). A terracotta androgynous bust, excavated at Taxila and dated to the Saka-Parthian era, pictures a bearded man with female breasts.

Ardhanarishvara is interpreted as an attempt to syncretise the two principal Hindu sects, Shaivism and Shaktism, dedicated to Shiva and the Great Goddess. A similar syncretic image is Harihara, a composite form of Shiva and Vishnu, the Supreme deity of the Vaishnava sect.

Iconography
The iconographic 16th century work Shilparatna, the Matsya Purana and Agamic texts like Amshumadbhedagama, Kamikagama, Supredagama and Karanagama – most of them of South Indian origin – describe the iconography of Ardhanarishvara. The right superior side of the body usually is the male Shiva and the left is the female Parvati; in rare depictions belonging to the Shaktism school, the feminine holds the dominant right side. The icon usually is prescribed to have four, three or two arms, but rarely is depicted with eight arms. In the case of three arms, the Parvati side has only one arm, suggesting a lesser role in the icon.

Male half
The male half wears a jata-mukuta (a headdress formed of piled, matted hair) on his head, adorned with a crescent moon. Sometimes the jata-mukuta is adorned with serpents and the river goddess Ganga flowing through the hair. The right ear wears a nakra-kundala, sarpa-kundala ("serpent-earring") or ordinary kundala ("earring"). Sometimes, the male eye is depicted smaller than the female one and a half-moustache is also seen. A half third eye (trinetra) is prescribed on the male side of the forehead in the canons; a full eye may also be depicted in middle of forehead separated by both the sides or a half eye may be shown above or below Parvati's round dot. A common elliptical halo (prabhamandala/prabhavali) may be depicted behind the head; sometimes the shape of the halo may differ on either side.

In the four-armed form, a right hand holds a parashu (axe) and another makes an abhaya mudra (gesture of reassurance), or one of the right arms is slightly bent and rests on the head of Shiva's bull mount, Nandi, while the other is held in the abhaya mudra gesture. Another configuration suggests that a right hand holds a trishula (trident) and another makes a varada mudra (gesture of blessing). Another scripture prescribes that a trishula and akshamala (rosary) are held in the two right hands. In the two-armed form, the right hand holds a kapala (skull cup) or gestures in a varada mudra. He may also hold a skull. In the Badami relief, the four-armed Ardhanarishvara plays a veena (lute), using a left and a right arm, while other male arm holds a parashu and the female one a lotus.

The Shiva half has a flat masculine chest, a straight vertical chest, broader shoulder, wider waist and muscular thigh. He wears a yagnopavita (sacred thread) across the chest, which is sometimes represented as a naga-yagnopavita (a snake worn as a yagnopavita) or a string of pearls or gems. The yajnopavita may also divide the torso into its male and female halves. He wears ornaments characteristic of Shiva's iconography, including serpent ornaments.

In some North Indian images, the male half may be nude and also be ithyphallic (urdhavlinga or urdhavreta: with an erect phallus), however, connotes the very opposite in this context. It contextualizes "seminal retention" or practice of celibacy (illustration of Urdhva Retas), and represents the deity as "the one who stands for complete control of the senses, and for the supreme carnal renunciation", other images found in North India include full or half phallus and one testicle. However, such imagery is never found in South Indian images; the loins are usually covered in a garment (sometimes a dhoti) of silk or cotton, or the skin of a tiger or deer), typically down to the knee, and held in place by a sarpa-mekhala, serpent girdle or jewellery. The right leg may be somewhat bent or straight and often rests on a lotus pedestal (padma-pitha). The whole right half is described as smeared with ashes and as terrible and red-coloured or gold or coral in appearance; however, these features are rarely depicted.

Female half
The female half has karanda-mukuta (a basket-shaped crown) on her head or well-combed knotted hair or both. The left ear wears a valika-kundala (a type of earring). A tilaka or bindu (a round red dot) adorns her forehead, matching Shiva's third eye. The left eye is painted with black eyeliner. While the male neck is sometimes adorned with a jewelled hooded serpent, the female neck has a blue lotus matching it.

In the four-armed form, one of the left arms rests on Nandi's head, while the other is bent in kataka mudra pose and holds a nilotpala (blue lotus) or hangs loosely at her side. In the three-armed representation, the left hand holds a flower, a mirror or a parrot. In the case of two-armed icons, the left hand rests on Nandi's head, hangs loose or holds either a flower, a mirror or a parrot. The parrot may be also perched on Parvati's wrist. Her hand(s) is/are adorned with ornaments like a keyura (anklet) or kankana (bangles).

Parvati has a well-developed, round bosom and a narrow feminine waist embellished with various haras (religious bracelets) and other ornaments, made of diamonds and other gems. She has a fuller thigh and a curvier body and hip than the male part of the icon. The torso, hip and pelvis of the female is exaggerated to emphasize the anatomical differences between the halves. Though the male private parts may be depicted, the female genitalia are never depicted and the loins are always draped. She wears a multi-coloured or white silken garment down to her ankle and one or three girdles around her waist. The left half wears an anklet and her foot is painted red with henna. The left leg may be somewhat bent or straight, resting on a lotus pedestal. In contrast to the Shiva half, the Parvati half – smeared with saffron – is described as calm and gentle, fair and parrot-green or dark in colour. She may be draped in a sari covering her torso and legs.

Postures and vahana

The posture of Ardhanarishvara may be tribhanga – bent in three parts: head (leaning to the left), torso (to the right) and right leg or in the sthanamudra position (straight), sometimes standing on a lotus pedestal, whereupon it is called samapada. Seated images of Ardhanarishvara are missing in iconographic treatises, but are still found in sculpture and painting. Though the canons often depict the Nandi bull as the common vahana (mount) of Ardhanarishvara, some depictions have Shiva's bull vahana seated or standing near or behind his foot, while the goddess's lion vahana is near her foot.

Eight-armed form
The Parashurameshvara Temple at Bhubaneswar has a dancing eight-armed Ardhanarishvara. The upper male arms hold a lute and akshamala (rosary), while the upper female ones hold a mirror and a book; the others are broken. Another non-conventional Ardhanarishvara is found at Darasuram. The sculpture is three-headed and eight-armed, holding akshamala, khadga (sword), pasha, musala, kapala (skull cup), lotus and other objects.

Other textual descriptions
The Naradiya Purana mentions that Ardhanarishvara is half-black and half-yellow, nude on one side and clothed on other, wearing skulls and a garland of lotuses on the male half and female half respectively. The Linga Purana gives a brief description of Ardhanarishvara as making varada and abhaya mudras and holding a trishula and a lotus. The Vishnudharmottara Purana prescribes a four-armed form, with right hands holding a rosary and trishula, while the left ones bear a mirror and a lotus. The form is called Gaurishvara in this text.

Legends

The mythology of Ardhanarishvara – which mainly originates in the Puranic canons – was developed later to explain existent images of the deity that had emerged in the Kushan era.

The unnamed half-female form of Shiva is also alluded to in the epic Mahabharata. In Book XIII, Upamanyu praises Shiva rhetorically asking if there is anyone else whose half-body is shared by his spouse, and adds that the universe had risen from the union of sexes, as represented by Shiva's half-female form. In some narratives, Shiva is described as dark and fair-complexioned, half yellow and half white, half woman and half man, and both woman and man. In Book XIII, Shiva preaches to Parvati that half of his body is made up of her body.

In the Skanda Purana, Parvati requests Shiva to allow her to reside with him, embracing "limb-to-limb", and so Ardhanarishvara is formed. It also tells that when the demon Andhaka wanted to seize Parvati and make her his wife, Vishnu rescued her and brought her to his abode. When the demon followed her there, Parvati revealed her Ardhanarishvara form to him. Seeing the half-male, half-female form, the demon lost interest in her and left. Vishnu was amazed to see this form and saw himself in the female part of the form.

The Shiva Purana describes that the creator god Brahma created all male beings, the Prajapatis, and told them to regenerate, which they were unable to do. Confronted with the resulting decline in the pace of creation, Brahma was perplexed and contemplated on Shiva for help. To enlighten Brahma of his folly, Shiva appeared before him as Ardhanarishvara. Brahma prayed to the female half of Shiva to give him a female to continue creation. The goddess agreed and created various female powers from her body, thereby allowing creation to progress. In other Puranas like the Linga Purana, Vayu Purana, Vishnu Purana, Skanda Purana, Kurma Purana, and Markandeya Purana, Rudra (identified with Shiva) appears as Ardhanarishvara, emerging from Brahma's head, forehead, mouth or soul as the embodiment of Brahma's fury and frustration due to the slow pace of creation. Brahma asks Rudra to divide himself, and the latter complies by dividing into male and female. Numerous beings, including the 11 Rudras and various female shaktis, are created from both the halves. In some versions, the goddess unites with Shiva again and promises to be born as Sati on earth to be Shiva's wife. In the Linga Purana, the Ardhanarishvara Rudra is so hot that in the process of appearing from Brahma's forehead, he burns Brahma himself. Ardhanarishvara Shiva then enjoys his own half – the Great Goddess – by "the path of yoga" and creates Brahma and Vishnu from her body. In the repetitive cycle of aeons, Ardhanarishvara is ordained to reappear at the beginning of every creation as in the past.

The Matsya Purana describes how Brahma, pleased with a penance performed by Parvati, rewards her by blessing her with a golden complexion. This renders her more attractive to Shiva, to whom she later merges as one half of his body.

Tamil temple lore narrates that once the gods and sages (rishi) had gathered at Shiva's abode, they prayed their respects to Shiva and Parvati. However, the sage Bhringi had vowed to worship only one deity, Shiva, and ignored Parvati while worshipping and circumambulating him. Agitated, Parvati cursed Bhringi to lose all his flesh and blood, reducing him to a skeleton. In this form Bhringi could not stand erect, so the compassionate ones who witnessed the scene blessed the sage with a third leg for support. As her attempt to humiliate the sage had failed, Parvati punished herself with austerities that pleased Shiva and led him to grant her the boon of uniting with him, thereby compelling Bhringi to worship her as well as himself in the form of Ardhanarishvara. However, the sage assumed the form of a beetle and circumambulating only the male half, drilling a hole in the deity. Amazed by his devotion, Parvati reconciled with the sage and blessed him. The seventh-century Shaiva Nayanar saint Appar mentions that after marrying Parvati, Shiva incorporated her into half of his body.

In the Kalika Purana, Parvati (called Gauri here) is described as having suspected Shiva of infidelity when she saw her own reflection in the crystal-like breast of Shiva. A conjugal dispute erupted but was quickly resolved, after which Parvati wished to stay eternally with Shiva in his body. The divine couple was thereafter fused as Ardhanarishvara. Another tale from North India also talks about Parvati's jealousy. Another woman, the river Ganga – often depicted flowing out of Shiva's locks – sat on his head, while Parvati (as Gauri) sat on his lap. To pacify Gauri, Shiva united with her as Ardhanarishvara.

Only in tales associated with the cult of Shakta (in which the Goddess is considered the Supreme Being) is the Goddess venerated as the Maker of All. In these tales, it is her body (not Shiva's) which splits into male and female halves.

Symbolism
Ardhanarishvara symbolizes that the male and female principles are inseparable. The composite form conveys the unity of opposites (coniunctio oppositorum) in the universe. The male half of Ardhanarishvara stands for Purusha and female half is Prakriti. Purusha is the male principle and passive force of the universe, while Prakriti is the female active force; both are "constantly drawn to embrace and fuse with each other, though... separated by the intervening axis". The union of Purusha (Shiva) and Prikriti (Shiva's energy, Shakti) generates the universe, an idea also manifested in the union of the Linga of Shiva and Yoni of Devi creating the cosmos. The Mahabharata lauds this form as the source of creation. Ardhanarishvara also suggests the element of Kama or Lust, which leads to creation.

Ardhanarishvara signifies "totality that lies beyond duality", "bi-unity of male and female in God" and "the bisexuality and therefore the non-duality" of the Supreme Being. It conveys that God is both Shiva and Parvati, "both male and female, both father and mother, both aloof and active, both fearsome and gentle, both destructive and constructive" and unifies all other dichotomies of the universe. While Shiva's rosary in the Ardhanarishvara iconography associates him with asceticism and spirituality, Parvati's mirror associates her to the material illusory world. Ardhanarishvara reconciles and harmonizes the two conflicting ways of life: the spiritual way of the ascetic as represented by Shiva, and the materialistic way of the householder as symbolized by Parvati, who invites the ascetic Shiva into marriage and the wider circle of worldly affairs. The interdependence of Shiva on his power (Shakti) as embodied in Parvati is also manifested in this form. Ardhanarishvara conveys that Shiva and Shakti are one and the same, an interpretation also declared in inscriptions found along with Ardhanarishvara images in Java and the eastern Malay Archipelago. The Vishnudharmottara Purana also emphasizes the identity and sameness of the male Purusha and female Prakriti, manifested in the image of Ardhanarishvara. According to Shaiva guru Sivaya Subramuniyaswami (1927–2001), Ardhanarishvara signifies that the great Shiva is "All, inseparable from His energy" (i.e. his Shakti) and is beyond gender.

Across cultures, hermaphrodite figures like Ardhanarishvara have traditionally been associated with fertility and abundant growth. In this form, Shiva in his eternal embrace with Prakriti represents the eternal reproductive power of Nature, whom he regenerates after she loses her fertility. "It is a duality in unity, the underlying principle being a sexual dualism". Art historian Sivaramamurti calls it "a unique connection of the closely knit ideal of man and woman rising above the craving of the flesh and serving as a symbol of hospitality and parenthood". The dual unity of Ardhanarishvara is considered "a model of conjugal inseparability". Padma Upadhyaya comments, "The idea of ... Ardhanārīśvara is to locate the man in the woman as also the woman in the man and to create perfect homogeneity in domestic affairs".

Often, the right half of Ardhanarishvara is male and the left is female. The left side is the location of the heart and is associated with 'feminine' characteristics like intuition and creativity, while the right is associated with the brain and 'masculine' traits – logic, valour and systematic thought. The female is often not equal in the Ardhanarishvara, the male god who is half female; she remains a dependent entity. Ardhanarishvara "is in essence Shiva, not Parvati". This is also reflected in mythology, where Parvati becomes a part of Shiva. It is likewise reflected in iconography: Shiva often has two supernatural arms and Parvati has just one earthly arm, and his bull vahana – not her lion vahana – typically accompanies them.

Worship

Ardhanarishvara is one of the most popular iconographic forms of Shiva. It is found in more or less all temples and shrines dedicated to Shiva all over India and South-east Asia. There is ample evidence from texts and the multiple depictions of the Ardhanarishvara in stone to suggest that a cult centred around the deity may have existed. The cult may have had occasional followers, but was never aligned to any sect. This cult focusing on the joint worship of Shiva and the Goddess may even have had a high position in Hinduism, but when and how it faded away remains a mystery. Though a popular iconographic form, temples dedicated to the deity are few. A popular one is located in Thiruchengode, while five others are located in Kallakkurichi taluk, all of them in the Indian state of Tamil Nadu.

The Linga Purana advocates the worship of Ardhanarishvara by devotees to attain union with Shiva upon dissolution of the world and thus attain salvation. The Ardhanarinateshvara Stotra composed by Adi Shankaracharya is a popular hymn dedicated to the deity. The Nayanar saints of Tamil Nadu exault the deity in hymns. While the 8th-century Nayanar saint Sundarar says that Shiva is always inseparable from the Mother Goddess, another 7th-century Nayanar saint Sambandar describes how the "eternal feminine" is not only his consort, but she is also part of him. The renowned Sanskrit writer Kalidasa (c. 4th–5th century) alludes Ardhanarishvara in invocations of his Raghuvamsa and Malavikagnimitram, and says that Shiva and Shakti are as inseparable as word and meaning. The 9th-century Nayanar saint Manikkavacakar casts Parvati in the role of the supreme devotee of Shiva in his hymns. He alludes to Ardhanarishvara several times and regards it the ultimate goal of a devotee to be united with Shiva as Parvati is in the Ardhanarishvara form.

title: Ardhanarishvara


text:
Ardra

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title: Ardra


text:
Arundhati

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title: Arundhati


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Carl Wilhelm Siemens

Sir Carl Wilhelm Siemens (4 April 1823 – 19 November 1883), anglicised to Charles William Siemens, was a German-British electrical engineer and businessman.

Biography
Siemens was born in the village of Lenthe, today part of Gehrden, near Hanover where his father, Christian Ferdinand Siemens (31 July 1787 – 16 January 1840), a tenant farmer, farmed an estate belonging to the Crown. The Siemens family is an old family of Goslar which has been documented since 1384. His mother was Eleonore Deichmann (1792–8 July 1839), and William, or Carl Wilhelm, was the fourth son of a family of fourteen children. Of his siblings, Ernst Werner Siemens, the fourth child, became a famous electrician and was associated with William in many of his inventions. He was also the brother of Carl Heinrich von Siemens and a cousin of Alexander Siemens.

On 23 July 1859, Siemens was married at St James's, Paddington, to Anne Gordon—the youngest daughter of Mr Joseph Gordon, Writer to the Signet, Edinburgh, and sister of Mr Lewis Gordon, Professor of Engineering in the University of Glasgow—and became a naturalised British citizen. He used to say that on 19 March of that year he took oath and allegiance to two ladies in one day—to The Queen and to his betrothed. He was knighted—becoming Sir William—a few months before his death. He died on the evening of Monday 19 November 1883 and was buried one week later in Kensal Green Cemetery, London. A glass window installed in Westminster Abbey in his honour commemorated him. Lady Siemens died in 1902.

The early years
In the autumn of 1838 when William was fifteen years old, he began his studies to become an engineer. He attended a highly respected School of Trade and Commerce, the Gewerbe-Schule Magdeburg. William had a particularly close relationship with his eldest brother; Ernst Werner Siemens had decided to teach William mathematics so that he could learn English at school instead. This programme helped them both and William's knowledge of English proved an incalculable advantage to them both. He went on to pass his examination easily. Less than a year later, their mother died and their father soon afterwards in 1840.

Once William had completed his course at the Magdeburg school he went on to the University of Göttingen where he attended lectures on physical geography and technology, high mathematics, theoretical chemistry and practical chemistry and physics. He was also able for a short time to work with Wilhelm Weber, the renowned scientist and inventor, in his Magnetic Observatory.

William was nearly nineteen when he left university to become an apprentice engineer. He also found time for more artistic pursuits such as taking dancing lessons and even painting a landscape of Nordhausen for the wife of the factory manager. His progress in the engineering factory was so rapid that his two-year apprenticeship was cut down to one.

Due to the education of the younger members of the family becoming a financial worry, on 10 March 1843, Carl Wilhelm Siemens left for London. He was acting as an agent for his brother Werner, and he hoped to earn enough money by selling a patent in England to help support and educate his many brothers and sisters. He felt a keen desire to see England and the journey cost him £1. William had already shown himself to be an enthusiastic businessman, having financed his trip by selling an invention of his brother's, an improvement to the gold and silver plating process, to George Richards Elkington. He was well aware, as he wrote to Werner, that his visit might achieve nothing, but if all went well he intended to remain. This indeed proved to be the case.

Career
Siemens had been trained as a mechanical engineer, and his most important work at this early stage was non-electrical; the greatest achievement of his life, the regenerative furnace. Though in 1847 he published a paper in Liebig's Annalen der Chemie on the 'Mercaptan of Selenium,' his mind was busy with the new ideas upon the nature of heat which were promulgated by Carnot, Clapeyron, Joule, Clausius, Mayer, Thomson, and Rankine. He discarded the older notions of heat as a substance, and accepted it as a form of energy. Working on this new line of thought, which gave him an advantage over other inventors of his time, he made his first attempt to economise heat, by constructing, in 1847, at the factory of John Hick, of Bolton, an engine of four horse-power, having a condenser provided with regenerators, and using superheated steam.

Two years later he continued his experiments at the works of Messrs. Fox, Henderson, and Co., of Smethwick, near Birmingham, who had taken the matter in hand. The use of superheated steam was attended with many practical difficulties, and the invention was not entirely successful; nevertheless, the Society of Arts, in 1850, acknowledged the value of the principle, by awarding Siemens a gold medal for his regenerative condenser.

In 1850 he established the London sales office of Siemens & Halske, the engineering company producing telegraphs, which his brother Werner had founded in 1847 at Berlin. He started selling such devices to the wire rope producer R. S. Newall and Company in Dundee, of which his friend (and uncle of his later wife) Lewis Gordon was the co-owner. Newall & Co. also outsourced test jobs for cables to Siemens and such enabled the new company to enter the ocean cable-laying business. The branch office became Siemens Brothers in 1858. In the 1850s, the company was involved in building long distance telegraph networks in Russia. In 1855, a company branch headed by another brother, Carl Heinrich von Siemens, opened in St Petersburg, Russia. By 1863, Sir William had his own cable factory built at Charlton, London. In 1867, Siemens completed the monumental Indo-European (Calcutta to London) telegraph line.

In 1859 William Siemens devoted a great part of his time to electrical invention and research; and the number of telegraph apparatus of all sorts – telegraph cables, land lines, and their accessories – which have emanated from the Siemens Telegraph Works (at Charlton, SE London) has been remarkable. In 1872 Sir William Siemens became the first President of the Society of Telegraph Engineers which became the Institution of Electrical Engineers, the forerunner of the Institution of Engineering and Technology

In 1860 William Siemens constructed a remarkable gas engine (the same year the very first commercial engine was produced by Lenoir). It did not get beyond the experimental stage, though its principle of operation (described in Siemens British patent 2074 of 1860, and by Siemens in The Theory of the Gas Engine ) appears to be similar to the commercially successful Brayton engine of 1872. In the discussion section of The Theory of the Gas Engine Siemens discloses that"The engine promised to give very good results, but about the same time he began to give his attention to the production of intense heat in furnaces, and having to make his choice between the two subjects, he selected the furnace and the metallurgic process leading out of it; and that was why the engine had remained where it was for so long a time."

Siemens was also responsible for the hot tube ignition system used on many of the early gas engines.

In June 1862 he was elected a Fellow of the Royal Society and in 1871 delivered their Bakerian Lecture.

As a member of the circumnavigation committee preparing the oceanographic expedition of HMS Challenger, Siemens was commissioned in 1871 to develop an electric thermometer to measure the temperature of the ocean at different depths.

He was elected as a member to the American Philosophical Society in 1877.

The regenerative furnace is the greatest single invention of Charles William Siemens, using a process known as the Siemens-Martin process. The electric pyrometer, which is perhaps the most elegant and original of all William Siemens's inventions, is also the link which connects his electrical with his metallurgical researches. Siemens pursued two major themes in his inventive efforts, one based upon the science of heat, the other based upon the science of electricity; and the electric thermometer was, as it were, a delicate cross-coupling which connected both.

In 1874 he had a special cable ship built, according to his design, for Siemens Brothers, the CS Faraday. In 1881, a Siemens AC Alternator driven by a watermill was used to power the world's first electric street lighting in the town of Godalming, United Kingdom.

title: Carl Wilhelm Siemens


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Talk:Gay village

Wiki Education assignment: Gender and Sexuality in World Civilizations I
— Assignment last updated by Rkrobinson25 (talk) 22:21, 18 November 2022 (UTC)

Some ideas for future improvements
Hello! I just reworked this page as part of a class assignment and while I will not have time to implement all of my ideas, I wanted to share some more here in case anyone else would like to take them on:

I organized the list of gay villages by continent, but more specific subcategories might be useful. Also, I added some information on Asian and Latin American gay villages, but there is still not nearly as much content as the North American and European sections have. Chile and Mexico both have gayborhoods that seem really interesting and there are also several more in Asia besides Boyztown and Shinjuku Ni-chōme. I ran out of time to add information on gay villages in Africa, but that is also needed. Rkrobinson25 (talk) 04:15, 2 December 2022 (UTC)

'UK gay villages' needs to be moved to its own article
It is a quite long section that warrants its own article, especially as it is the only country listed separately here and it is high in detail/length in an article that talks globally. To be honest I don't even think this requires discussing as it isn't controversial and is only logical to do so. I don't have an account otherwise I would've been bold enough to move that section away from here. 185.69.145.65 (talk) 23:05, 4 April 2023 (UTC)

 * It should also be renamed English gay villages as it makes no mention of Northern Ireland, Wales or Scotland. All of these countries also have gay villages. 82.36.27.2 (talk) 06:22, 5 April 2023 (UTC)

 * I definitely agree with you both and have just gone ahead and split the section into its own article, List of gay villages in England. --Plumbobar (talk) 17:30, 19 April 2023 (UTC)

Semi-protected edit request on 4 November 2023
In the section referencing gay villages in North America, please include what has been one of the largest gay villages for over two decades: Wilton Manors, Florida, U.S.A.

As a result of the 2010 US Census, the City of Wilton Manors was named the “Second Gayest City” in the United States. With a large percentage of the population identifying as gay, lesbian, bisexual, or transgender, Wilton Manors has been a progressive place to live, work and play for many years. In 2012, and again in subsequent years, Wilton Manors was named by South Florida Gay News (SFGN) as the Best City in its “Best Of" competition.

There has been a strong gay presence on the City Commission since the late 1980s when the City of Wilton Manors had the distinction of electing Broward County’s first openly gay elected official in 1988.

In the 1990’s, Wilton Manor’s gay community began thrive with the emergence of significant real estate, retail, entertainment and commercial activity directed towards & serving the LGBTQ community, including a significant contingent of elder segment of this community. It continues to grow and serve as a vital enclave to the LGBTQ+ population in south Florida and welcoming members of this community from around the world.

2600:100F:A020:F7A:C94C:63CF:FE0:2327 (talk) 19:36, 4 November 2023 (UTC)
 * Red information icon with gradient background.svg Not done: We need reliable sources which are not directly related to Wilton Manors to make these claims, not the village's own government. You must also provide exactly what you want to insert and where. — Sirdog (talk) 23:43, 4 November 2023 (UTC)

title: Talk:Gay village


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Guardians of the directions

The Guardians of the Directions (दिक्पाल, ) are the deities who rule the specific directions of space according to Hinduism, Jainism and Vajrayana Buddhism—especially Kalachakra. As a group of eight deities, they are called  (अष्ट-दिक्पाल), literally meaning guardians of eight directions. They are often augmented with two extra deities for the ten directions (the two extra directions being zenith and nadir), when they are known as the . In Hinduism it is traditional to represent their images on the walls and ceilings of Hindu temples. They are also often portrayed in Jain temples, with the exception that Nāga usually takes the place of Vishnu in the nadir. Ancient Java and Bali Hinduism recognize , literally meaning guardians of nine directions, that consist of eight directions with one addition in the center. The nine guardian gods of directions is called Dewata Nawa Sanga (Nine guardian devata). The diagram of these guardian gods of directions is featured in Surya Majapahit, the emblem of Majapahit empire.

There are strong similarities between the concept of the guardians of the directions and the lore surrounding the Chinese four symbols, four ancestral spirits who are responsible for four of the cardinal directions (North, South, East, and West).

Directions in Hindu tradition
Directions in Hindu tradition are called as , or Dik. There are four cardinal directions, six orthogonal directions and a total of ten directions, however infinite combinations are possible.

Lokapālas
In Hinduism, the guardians of the cardinal directions are called the Lokapalas (लोकपाल), or Dikpalaka. Three main distinctions of Dikpalaka are recognized, being:

("Guardians of Ten Directions")
Besides the eight guardians, the following are added:
 * Brahma (Zenith, meaning "the farthest up from the gravitational force")
 * Vishnu (Nadir, meaning "the direction in which gravity pulls")

("Guardians of Nine Directions")

(Called Dewata Nawa Sanga in ancient Java and Bali Hinduism)

 * Shiva (Center)
 * Vishnu (North)
 * Brahma (South)
 * Isvara (East)
 * Mahadeva (West)
 * Sambhu (Northeast)
 * Mahesora (Southeast)
 * Sangkara (Northwest)
 * Rudra (Southwest)

title: Guardians of the directions


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Fleeming Jenkin

Henry Charles Fleeming Jenkin FRS FRSE LLD (25 March 1833 – 12 June 1885) was Regius Professor of Engineering at the University of Edinburgh, remarkable for his versatility. Known to the world as the inventor of the cable car or telpherage, he was an electrician and cable engineer, economist, lecturer, linguist, critic, actor, dramatist and artist. His descendants include the engineer Charles Frewen Jenkin and through him the Conservative MPs Patrick, Lord Jenkin of Roding and Bernard Jenkin.

Background and childhood
Generally called Fleeming Jenkin, after Admiral Fleeming, one of his father's patrons, he was born to an old and eccentric family in a government building near Dungeness, Kent, England, his father, Captain Charles Jenkin, at that time being in the coast-guard service. His mother, Henrietta Camilla (Cora) Jenkin (born Jackson) was a published author. His mother was responsible for Fleeming's education. She took him to the south of Scotland, where, chiefly at Barjarg, she taught him drawing and allowed him to ride his pony on the moors. He went to school at Jedburgh, Borders, and afterwards to the Edinburgh Academy, where he won many prizes. Among his school fellows were James Clerk Maxwell and Peter Guthrie Tait.

On his father's retirement in 1847, the family moved to Frankfurt, partly from motives of economy and partly for the boy's education. Here Jenkin and his father spent a pleasant time together, sketching old castles, and observing the customs of the peasantry. At thirteen, Jenkin had produced a romance of three hundred lines in heroic couplets, a novel, and innumerable poems, none of which are now extant. He learned German in Frankfurt and, on the family migrating to Paris the following year, he studied French and mathematics under a M. Deluc. While there, Jenkin witnessed the outbreak of the Revolution of 1848 and heard the first shot, describing the action in a letter written to an old schoolfellow.

The Jenkins left Paris, and went to Genoa, where they experienced another revolution, and Mrs. Jenkin, with her son and sister-in-law, had to seek the protection of a British vessel in the harbour, leaving their house stored with the property of their friends, and guarded by Captain Jenkin. At Genoa, Jenkin attended the university, being its first Protestant student. Father Bancalari, the professor of natural philosophy, lectured on electromagnetism, his physical laboratory being the best in Italy. Jenkin took the degree of M.A. with first-class honours, his special subject having been electromagnetism. The questions in the examinations were in Latin, and had to be answered in Italian. Fleeming also attended an art school in the city, and gained a silver medal for a drawing from one of Raphael's cartoons. His holidays were spent in sketching, and his evenings in learning to play the piano or, when permissible, at the theatre or opera-house. He had conceived a taste for acting. He attended the University of Edinburgh in 1851.

Training as engineer and artist
In 1850, Jenkin spent some time in a Genoese locomotive shop under Philip Taylor of Marseille but on the death of his Aunt Anna, who lived with them, Captain Jenkin took his family back to England, and settled in Manchester, where the lad, in 1851, was apprenticed to mechanical engineering at the works of William Fairbairn, and from half-past eight in the morning until six at night had, as he says, "to file and chip vigorously, in a moleskin suit, and infernally dirty.

"At home he pursued his studies, and was for a time engaged with Dr. Bell in working out a geometrical method of arriving at the proportions of Ancient Greek architecture. His stay in Manchester, though in striking contrast to his life in Genoa, was agreeable. He liked his work, had the good spirits of youth, and made some pleasant friends, one of them the author, Elizabeth Gaskell. He was argumentative, and his mother tells of his having overcome a consul at Genoa in a political discussion when he was only sixteen 'simply from being well-informed on the subject, and honest. He is as true as steel,' she writes, 'and for no one will he bend right or left... Do not fancy him a Bobadil; he is only a very true, candid boy. I am so glad he remains in all respects but information a great child.'"

"On leaving Fairbairn's he was engaged for a time on a survey for the proposed Lukmanier Railway in Switzerland, and in 1856 he entered Penn's engineering works at Greenwich as a draughtsman, being occupied on the plans of a vessel designed for the Crimean War. He complained about the late hours, his rough comrades, and his humble lodgings, 'across a dirty green and through some half-built streets of two-storied houses.... Luckily, he adds, 'I am fond of my profession, or I could not stand this life.' Jenkin had been his mother's pet until then, and felt the change from home more keenly for that reason. At night he read engineering and mathematics, or Thomas Carlyle and the poets, and cheered his drooping spirits with frequent trips to London to see his mother."

"Another social pleasure was his visits to the house of Alfred Austin, a barrister, who became permanent secretary to Her Majesty's Office of Works and Public Buildings, and retired in 1868 with the title of CB. His wife, Eliza Barron, was the youngest daughter of a gentleman of Norwich who, when a child, had been patted on the head, in his father's shop, by Dr Samuel Johnson, while canvassing for Mr. Thrale. Jenkin had been introduced to the Austins by a letter from Mrs. Gaskell, and was charmed with the atmosphere of their choice home, where intellectual conversation was happily united with kind and courteous manners, without any pretence or affectation. "Each of the Austins," says Stevenson in his memoir of Jenkin, "was full of high spirits; each practised something of the same repression; no sharp word was uttered in the house." The Austins were truly hospitable and cultured, not merely so in form and appearance. It was a rare privilege and preservative for a solitary young man in Jenkin's position to have the entry into such elevating society and he appreciated his good fortune."

"Annie Austin, their only child, had been highly educated and knew Greek among other things. Though Jenkin loved and admired her parents he did not at first care for Annie. Stevenson hints that she vanquished him by correcting a "false quantity" of his one day; he was the man to reflect over a correction, and "admire the castigator." Jenkin was poor but the liking of her parents for him gave him hope. He had entered the service of Messrs. Liddell and Gordon who were engaged in the new work of submarine telegraphy, which satisfied his aspirations, and promised him a successful career. He therefore asked the Austins for leave to court their daughter. Mrs. Austin consented freely, and Mr. Austin only reserved the right to inquire into his character. Jenkin, overcome by their disinterestedness, exclaimed in one of his letters "Are these people the same as other people?" Miss Austin seems to have resented his courtship of her parents first but the mother's favour and his own spirited behaviour saved him and won her consent."

After leaving Penn's, Jenkin became a railroad engineer under Liddell and Gordon, and, in 1857, became engineer to R.S. Newall and Company of Gateshead who shared the work of making the first Atlantic cable with Glass, Elliott & Co. of Greenwich. Jenkin was busy designing and fitting up machinery for cableships, and making electrical experiments. "I am half crazy with work," he wrote to his fiancée; "I like it though: it's like a good ball, the excitement carries you through." He wrote, "My profession gives me all the excitement and interest I ever hope for...I am at the works till ten, and sometimes till eleven. But I have a nice office to sit in, with a fire to myself, and bright brass scientific instruments all round me, and books to read, and experiments to make, and enjoy myself amazingly. I find the study of electricity so entertaining that I am apt to neglect my other work... What shall I compare them to," he writes of some electrical experiments, "a new song? or a Greek play?"

First voyage
In the spring of 1855, he was fitting out the S.S. Elba at Birkenhead for his first telegraph cruise. Earlier in 1855, John Watkins Brett had attempted to lay a cable across the Mediterranean between Cape Spartivento, in the south of Sardinia, and a point near Bona, on the coast of Algeria. It was a gutta-percha cable of six wires or conductors, manufactured by Glass, Elliott & Co., a firm which afterwards combined with the Gutta-Percha Company and became the Telegraph Construction and Maintenance Company. Brett laid the cable from the Result, a sailing ship in tow, instead of a more manageable steamer. Meeting with 600 fathoms (1100 m) of water when twenty-five miles (45 km) from land, the cable ran out so fast that a tangled skein came up out of the hold and the line had to be severed. Having only 150 mi on board to span the whole distance of 140 mi, he grappled the lost cable near the shore, raised it, and under-ran or passed it over the ship, for some 20 mi, then cut it, leaving the seaward end on the bottom. He then spliced the ship's cable to the shoreward end and resumed paying-out but after 70 mi in all were laid, another rapid rush of cable took place, and Brett was obliged to cut and abandon the line.

Another attempt was made the following year, but with no better success. Brett then tried to lay a three-wire cable from the steamer Dutchman; but owing to the deep water (in some places 1500 fathoms or 2700 m) when he came to a few miles from Galita, his destination on the Algerian coast, he had not enough cable to reach the land. He telegraphed to London for more cable to be made and sent out, while the ship remained there holding the end. After five days the cable parted, perhaps as a result of rubbing on the bottom.

It was to recover the lost cable of these expeditions that the Elba was got ready for sea. Jenkin had fitted her out the year before for laying the Cagliari to Malta and Corfu cables but on this occasion she was better equipped. She had a new machine for picking up the cable, and a sheave or pulley at the bows for it to run over, both designed by Jenkin, together with a variety of wooden buoys, ropes, and chains. Liddell, assisted by F. C. Webb and Fleeming Jenkin, was in charge of the expedition. Jenkin had nothing to do with the electrical work, his care being the deck machinery for raising the cable but it was a responsible job. He reported the expedition in letters to Miss Austin and in diary entries.

During the latter part of the work much of the cable was found to be looped and twisted into 'kinks' from having been so slackly laid and two immense tangled skeins were raised on board, one by means of the mast-head and fore-yard tackle. Photographs of this raveled cable were exhibited as a curiosity in the windows of Newall & Co.'s shop in The Strand. By 5 July the whole of the six-wire cable had been recovered and a portion of the three-wire cable, the rest being abandoned as unfit for use, owing to its twisted condition. On the evening of the 2nd the first mate, while on the water unshackling a buoy, was struck in the back by a fluke of the ship's anchor as she drifted, and so severely injured that he lay for many weeks at Cagliari. Jenkin's knowledge of languages made him useful as an interpreter but, in mentioning this incident to Miss Austin, he writes, ''For no fortune would I be a doctor to witness these scenes continually. Pain is a terrible thing.''

Future partners
"Early in 1859 he met William Thomson (later Sir William Thomson, and still later Lord Kelvin), his future friend and partner. Lewis Gordon, of Newall & Co., subsequently the first professor of engineering in a British University, was in Glasgow seeing Thomson's instruments for testing and signalling on the first Atlantic cable during the six weeks of its working. Gordon said he should like to show them to a young man of remarkable ability, engaged at their Birkenhead works. Jenkin was telegraphed for, arrived next morning, and spent a week in Glasgow, mostly in Thomson's classroom and laboratory at the old college. Thomson was struck with Jenkin's brightness, ability, thoroughness and determination to learn. I soon found,' he remarked, 'that thoroughness of honesty was as strongly engrained in the scientific as in the moral side of his character. Their talk was chiefly on the electric telegraph but Jenkin was eager, too, on the subject of physics. After staying a week he returned to the factory but he began experiments and corresponded briskly with Thomson about cable work. Thomson seems to have infected his visitor during their brief contact with the magnetic force of his personality and enthusiasm."

On 26 February, during a four days' leave, Jenkin married Miss Austin at Northiam in Sussex, returning to his work the following Tuesday. He was strongly attached to his wife and his letters reveal a warmth of affection which a casual observer would never have suspected in him. In 1869 he wrote, People may write novels, and other people may write poems, but not a man or woman among them can say how happy a man can be who is desperately in love with his wife after ten years of marriage. Five weeks before his death he wrote to her, Your first letter from Bournemouth gives me heavenly pleasure – for which I thank Heaven and you, too, who are my heaven on earth.

Second voyage
During the summer he took another telegraph cruise in the Mediterranean. This time the Elba was to lay a cable from the Greek islands of Syros and Crete to Egypt. He again reported in letters to his wife.

Partnership with Forde
"In 1861, Jenkin left the service of Newall & Co. and entered into partnership with H. C. Forde, who had acted as engineer under the British Government for the Malta-Alexandria cable, and was now practising as a civil engineer. For several years, business was bad."

Domestic life
In 1859 he married Ann Austin.

With a young family coming, it was an anxious time but he bore his troubles lightly. Robert Louis Stevenson says in his memoir of Jenkin that it was his principle to enjoy each day's happiness as it arises, like birds and children.

In 1863 his first son was born and the family moved to a cottage at Claygate near Esher. Though ill and poor, he kept up his self-confidence. The country, he wrote to his wife, ''will give us, please God, health and strength. I will love and cherish you more than ever. You shall go where you wish, you shall receive whom you wish, and as for money, you shall have that too. I cannot be mistaken. I have now measured myself with many men. I do not feel weak. I do not feel that I shall fail. In many things I have succeeded, and I will in this.... And meanwhile, the time of waiting, which, please Heaven, shall not be so long, shall also not be so bitter. Well, well, I promise much, and do not know at this moment how you and the dear child are. If he is but better, courage, my girl, for I see light.''

He took to gardening, without a natural liking for it, and soon became an ardent expert. He wrote reviews and lectured or amused himself in playing charades and reading poetry. James Clerk Maxwell was among his visitors. During October 1860, he superintended the repairs of the Bona-Spartivento cable, revisiting Chia and Cagliari, then full of Garibaldi's troops. The cable, which had been broken by the anchors of coral fishers, was grapnelled with difficulty. What rocks we did hook! writes Jenkin. ''No sooner was the grapnel down than the ship was anchored; and then came such a business: ship's engines going, deck engine thundering, belt slipping, tear of breaking ropes; actually breaking grapnels. It was always an hour or more before we could get the grapnels down again.''

In 1865, on the birth of their second son, Mrs. Jenkin was very ill, and Jenkin, after running two miles for a doctor, knelt by her bedside during the night in a draught. He suffered from rheumatism and sciatica ever afterwards. It nearly disabled him while laying the cable from Lowestoft to Norderney in Germany for Paul Reuter in 1866. This line was designed by Forde & Jenkin, manufactured by Messrs. W. T. Henley & Co., and laid by the Caroline and William Cory. Clara Volkman, a niece of Reuter, sent the first message, with the telegraph engineer C. F. Varley holding her hand.

Professor at London and Edinburgh
"In 1866, Jenkin was appointed as professor (chair ) of engineering at University College London. Two years later his prospects suddenly improved. The partnership began to pay and he was selected to fill the newly established Regius Chair of Engineering at Edinburgh University. He wrote to his wife: 'With you in the garden (at Claygate), with Austin in the coach-house, with pretty songs in the little low white room, with the moonlight in the dear room upstairs—ah! it was perfect; but the long walk, wondering, pondering, fearing, scheming, and the dusty jolting railway, and the horrid fusty office, with its endless disappointments, they are well gone. It is well enough to fight, and scheme, and bustle about in the eager crowd here (in London) for a while now and then; but not for a lifetime. What I have now is just perfect. Study for winter, action for summer, lovely country for recreation, a pleasant town for talk.'"

"The following June he was on board the Great Eastern while she laid the French Atlantic cable from Brest to Saint-Pierre. Among his shipmates were Sir William Thomson, Sir James Anderson, C. F. Varley, Latimer Clark and Willoughby Smith. Jenkin's sketches of Clark and Varley are remarkable. At Saint-Pierre they arrived in a fog which lifted to show their consort, the William Cory, straight ahead, and the Gulnare signalling a welcome. Jenkin observed that the whole island was electrified by the battery at the telegraph station."

Partnership with Thomson and Varley
"Jenkin's position at Edinburgh led to a partnership in cable work with Varley and Thomson, whom he always admired. Jenkin's practical and businesslike abilities were of assistance to Thomson, relieving him of routine and sparing his time for other work. In 1870 the siphon recorder for tracing a cablegram in ink instead of merely flashing it by the moving ray of the mirror galvanometer, was introduced on long cables and became a source of profit to Jenkin and Varley as well as to Thomson, its inventor."

"In 1873 Thomson and Jenkin were engineers for the Western and Brazilian cable. It was manufactured by Hooper & Co., of Millwall and the wire was coated with india rubber, then a new insulator. The Hooper left Plymouth in June, and after touching at Madeira, where Thomson was up 'sounding with his special toy' (the pianoforte wire) 'at half-past three in the morning,' they reached Pernambuco by the beginning of August, and laid a cable to Pará."

"During the next two years the Brazilian system was connected to the West Indies and the Río de la Plata but Jenkin was not present on the expeditions. While engaged in this work, the ill-fated La Plata, carrying cable from the Siemens AG company to Montevideo, sank in a cyclone off Ushant with the loss of nearly all her crew. The Mackay-Bennett Atlantic cables were also laid under their charge."

Pioneer of the supply and demand graphic
In 1870, Jenkin published the essay "On the Graphical Representation of the Laws of Supply and Demand and their Application to Labour," in which he "introduced the diagrammatic method into the English economic literature" – an early published instance of supply and demand curves. His treatment extended beyond earlier treatments on the Continent (not apparently known by him), complete with comparative statics (a change in equilibrium from a shifts of a curve), welfare analysis, application to the labour market, and market-period and long-run distinctions. It was later popularised by Alfred Marshall and remains arguably the most famous graphic in economics.

Sanitary protection associations
In 1878 Jenkin made a contribution to public health with his pamphlet Healthy Houses. "This was not a completely new interest, for sewerage systems were part of the degree course which he taught, and he had already contributed on the subject to the Sanitary Record."

The suggestion was made by William Fairbairn that house inspection by an association of competent individuals would protect homeowners from incompetent tradesmen and outline clearly work necessary for sanitary protection. Jenkin noted, "In respect of Domestic Sanitation the business of Engineer and that of the medical man overlap." With the assent of Robert Christison, the concept took hold in Edinburgh and Saint Andrews, then in Newport, USA. The report by Alexander Fergusson noted two associations in London in 1882, and sixteen globally.

"Jenkin acted as consulting engineer to the association without pay, rather, as he explained it, like a hospital for the poor where a leading physician would give his services free. ... [The Sanitary Protection Association] was simple, pragmatic, popular – within a few months, there were five hundred subscribers in Edinburgh, and similar groups quickly formed in other British cities ..."

Personality and assessment
Jenkin was a clear, fluent speaker, and a successful teacher. He is described as being of medium height, and very plain, with an unimposing manner. His class was always in good order, for he instantly spotted and disciplined anyone who misbehaved. His experimental work was not strikingly original. At Birkenhead he made some accurate measurements of the electrical properties of materials used in submarine cables. Sir William Thomson noted that he was the first to apply the absolute methods of measurement introduced by Gauss and Weber. He also investigated the laws of electric signals in submarine cables. As Secretary to the British Association Committee on Electrical Standards he played a leading part in providing electricians with practical standards of measurement. His Cantor lectures on submarine cables, and his treatise on Electricity and Magnetism, published in 1873, were notable at the time, including the latest developments in the subject. He was associated with Thomson in an ingenious 'curb-key' for sending signals automatically through a long cable; but it was never adopted. His most important invention was telpherage, a means of transporting goods and passengers to a distance by electric panniers supported on a wire or conductor, which supplied them with electricity. It was patented in 1882, and Jenkin spent his last years on this work, expecting great results from it; but before the first public line was opened for traffic at Glynde, in Sussex, he was dead.

In mechanical engineering his graphical methods of calculating strains in bridges, and determining the efficiency of mechanism, were valuable, and won him the Keith Gold Medal from the Royal Society of Edinburgh. In his spare time Jenkin wrote papers on a wide variety of subjects. Munro, the scholar, complimented him for his paper The Atomic Theory of Lucretius. In 1878 he constructed a phonograph from the newspaper reports of this new invention, and lectured on it in Edinburgh, then employed it to study the nature of vowel and consonantal sounds. An interesting paper on 'Rhythm in English Verse,' was also published by him in the Saturday Review for 1883.

He could draw a portrait with astonishing rapidity, and had been known to stop a passer-by for a few minutes and sketch her on the spot. His artistic side also shows itself in a paper on 'Artist and Critic,' in which he defines the difference between the mechanical and fine arts. 'In mechanical arts,' he says, 'the craftsman uses his skill to produce something useful, but (except in the rare case when he is at liberty to choose what he shall produce) his sole merit lies in skill. In the fine arts the student uses skill to produce something beautiful. He is free to choose what that something shall be, and the layman claims that he may and must judge the artist chiefly by the value in beauty of the thing done. Artistic skill contributes to beauty, or it would not be skill; but beauty is the result of many elements, and the nobler the art the lower is the rank which skill takes among them.'

Jenkin was a clear and graphic writer. He read selectively, preferring the story of David, the Odyssey, the Arcadia, the saga of Burnt Njal, and the Grand Cyrus. Aeschylus, Sophocles, Shakespeare, Ariosto, Boccaccio, Sir Walter Scott, Dumas, Charles Dickens, William Makepeace Thackeray, and George Eliot were some of his favourite authors. He was a rapid, fluent talker. Some of his sayings were shrewd and sharp; but he was sometimes aggressive. 'People admire what is pretty in an ugly thing,' he used to say 'not the ugly thing.' A lady once said to him she would never be happy again. 'What does that signify?' cried Jenkin; 'we are not here to be happy, but to be good.' On a friend remarking that Salvini's acting in Othello made him want to pray, Jenkin answered, 'That is prayer.'

Though admired and liked by his intimates, Jenkin was never popular with associates. His manner was hard, rasping, and unsympathetic. 'Whatever virtues he possessed,' says Mr. Stevenson, 'he could never count on being civil.' He showed so much courtesy to his wife, however, that a Styrian peasant who observed it spread a report in the village that Mrs. Jenkin, a great lady, had married beneath her. At the Savile Club, in London, he was known as the 'man who dines here and goes up to Scotland.' Jenkin was conscious of this churlishness, and latterly improved. 'All my life,' he wrote,'I have talked a good deal, with the almost unfailing result of making people sick of the sound of my tongue. It appeared to me that I had various things to say, and I had no malevolent feelings; but, nevertheless, the result was that expressed above. Well, lately some change has happened. If I talk to a person one day they must have me the next. Faces light up when they see me. "Ah! I say, come here." " Come and dine with me." It's the most preposterous thing I ever experienced. It is curiously pleasant.'

Jenkin was a good father, joining in his children's play as well as directing their studies. The boys used to wait outside his office for him at the close of business hours; and a story is told of little Frewen, the second son, entering in to him one day, while he was at work, and holding out a toy crane he was making, with the request, 'Papa you might finiss windin' this for me, I'm so very busy to-day.' He was fond of animals too, and his dog Plate regularly accompanied him to the university. But, as he used to say, 'It's a cold home where a dog is the only representative of a child.'

In the Highlands, Jenkin learned to love the Highland character and ways of life. He shot, rode and swam well, and taught his boys athletic exercises, boating, salmon fishing, and so on. He learned to dance a Highland reel, and began the study of Gaelic; but it proved too difficult for Jenkin. Once he took his family to Alt Aussee, in the Steiermark (Styria), where he hunted chamois, won a prize for shooting at the Schützenfest, learned the local dialect, sketched the neighbourhood, and danced the steirischen Ländler with the peasants.

His parents and parents-in-law had come to live in Edinburgh, but they all died within ten months of each other. Jenkin had showed great devotion to them in their illnesses, and was worn out with grief and watching. His telpherage, too, had given him considerable anxiety; and his mother's illness, which affected her mind, had caused him fear. He was planning a holiday to Italy with his wife to recuperate, and had a minor operation on his foot, which resulted in blood poisoning. There seemed to be no danger, and his wife was reading aloud to him as he lay in bed, when his mind began to wander. He probably never regained his senses before he died.

At one period of his life Jenkin was a freethinker, holding all dogmas as 'mere blind struggles to express the inexpressible.' Nevertheless, as time went on he returned to Christianity. 'The longer I live,' he wrote, 'the more convinced I become of a direct care by God—which is reasonably impossible—but there it is.' In his last year he took Communion.

Darwin and evolution
In June 1867, Jenkin reviewed Darwin's On the Origin of Species (1859), in The North British Review. Jenkin criticized Darwin's evolutionary theory by suggesting that Darwin's interpretation of natural selection couldn't possibly work, as described, if the reigning hypothesis of inheritance, blending inheritance, was also valid. Though Gregor Mendel's theory of particulate inheritance had been already published two years earlier (and would eventually be adopted as the dominant theory of inheritance), neither Jenkin nor Darwin would ever read it, and it would still be several decades before the blending inheritance model would be overturned in the scientific community. In this interim, Jenkin provided a mathematical argument, the swamping argument, that showed that under the blending inheritance model any advantageous mutations which might arise in a species would be quickly diluted out of any species after just a few generations. By contrast, Darwin's interpretation of natural selection required hundreds, if not thousands of generations of passing down such mutations in order to work. Jenkin thus concluded that natural selection could not possibly work if blending inheritance were also true. Despite Jenkin's argument containing a mistake, as A.S. Davis pointed out in 1871, it did not affect Jenkin's conclusion, nor mitigate the damage of Jenkin's criticisms of Darwin's ideas during the few decades when blending inheritance was still widely accepted.

Jenkin also referred to Lord Kelvin's recent (incorrect) estimation of the age of the earth. Kelvin had calculated that Fourier's theory of heat and the actions of tides on the earth's rotation allowed for an earth no more than 100 million years old and doubted in so far the case for evolution based on the chronology. Criticism by Jenkin and A.W. Bennett, in fact, led Darwin to investigate and discuss the mechanism of inheritance more thoroughly. Darwin avoided a direct confrontation (as well in the case of chronology), but confessed that some of Jenkin's arguments were troubling—so troubling, in fact, that Darwin largely abandoned blending inheritance as the potential mechanism for his own inheritance model, pangenesis, in favor of a competing model of inheritance that derived from Lamarckism.

Selected works of Fleeming Jenkin

 * 1868: The Atomic Theory of Lucretius, North British Review, link from Wikisource.
 * 1868. "Trades Unions: How Far Legitimate?" North British Review, March. (see Papers, Literary, Scientific &c, volume 2).
 * 1870. "The Graphical Representation of the Laws of Supply and Demand, and their Application to Labour," in Alexander Grant, ed., Recess Studies, ch. VI, pp. 151–85. Edinburgh. Scroll to chapter link.
 * 1872. On the principles which regulate the incidence of taxes, Proceedings of the Royal Society of Edinburgh 1871-2, pp. 618–30.
 * 1877: (with J.A. Ewing) On Friction between Surfaces moving at Low Speeds, Philosophical Magazine Series 5, volume 4, pp 308–10, link from Biodiversity Heritage Library.
 * 1887: Sydney Colvin & James Alfred Ewing editors, Papers, Literary, Scientific, &c, volume 1, preview from Google Books.
 * 1887: S.C. Colvin & J.A. Ewing editors, Papers, Literary, Scientific, &c, v. 2
 * 1873: Electricity and Magnetism (first edition), link from HathiTrust, other editions in 1876,79,80,81,85,87,1914.
 * 1873 (editor) Reports of the Committee on Electrical Standards appointed by the British Association for the Advancement of Science link from HathiTrust.
 * undated: "History of Bridges", Encyclopædia Britannica

Obituaries

 * Professor Fleeming Jenkin, LL.D., FRS, obituary in Nature 32: 153,4 (18 June 1885).
 * Death of Fleeming Jenkin, in The Electrician and Electrical Engineer (August 1885), link from Google Books.
 * Death of Fleeming Jenkin, in Minutes of the Proceedings of the Institution of Civil Engineers 85: 365 to 77, link from Google Books.
 * William Thomson, Baron Kelvin Obituary Notices for Fellows Deceased, Proceedings of the Royal Society of London, link from Jstor (subscription).

Biographies

 * Barkley, G. E., 2004. "Jenkin, (Henry Charles) Fleeming (1833–1885)", Oxford Dictionary of National Biography, Oxford University Press, accessed 3 September 2007
 * Brownlie, A. D., and M. F. Lloyd Prichard (1963). "Professor Fleeming Jenkin, 1833–1885 Pioneer in Engineering and Political Economy," Oxford Economic Papers, NS, 15(3), p p. 204-16.
 * Collison Black. R.D. (1987 [2008]). "Jenkin, Henry Charles Fleeming," The New Palgrave: A Dictionary of Economics, v. 2 pp. 1007–08.

title: Fleeming Jenkin


text:
Philip Reis

Philip Reis may refer to:
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title: Philip Reis