Actuality of ben jonson's comedy of his time contents

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ACTUALITY OF BEN JONSON'S COMEDY OF HIS TIME

Biographies of Ben Jonson

Drama[edit]

As G. E. Bentley notes in Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared, Jonson's reputation was in some respects equal to Shakespeare's in the 17th century. After the English theatres were reopened on the Restoration of Charles II, Jonson's work, along with Shakespeare's and Fletcher's, formed the initial core of the Restoration repertory. It was not until after 1710 that Shakespeare's plays (ordinarily in heavily revised forms) were more frequently performed than those of his Renaissance contemporaries. Many critics since the 18th century have ranked Jonson below only Shakespeare among English Renaissance dramatists. Critical judgment has tended to emphasise the very qualities that Jonson himself lauds in his prefaces, in Timber, and in his scattered prefaces and dedications: the realism and propriety of his language, the bite of his satire, and the care with which he plotted his comedies.

For some critics, the temptation to contrast Jonson (representing art or craft) with Shakespeare (representing nature, or untutored genius) has seemed natural; Jonson himself may be said to have initiated this interpretation in the second folio, and Samuel Butler drew the same comparison in his commonplace book later in the century.

At the Restoration, this sensed difference became a kind of critical dogma. Charles de Saint-Évremond placed Jonson's comedies above all else in English drama, and Charles Gildon called Jonson the father of English comedy. John Dryden offered a more common assessment in the "Essay of Dramatic Poesie," in which his Avatar Neander compares Shakespeare to Homer and Jonson to Virgil: the former represented profound creativity, the latter polished artifice. But "artifice" was in the 17th century almost synonymous with "art"; Jonson, for instance, used "artificer" as a synonym for "artist" (Discoveries, 33). For Lewis Theobald, too, Jonson "ow[ed] all his Excellence to his Art,” in contrast to Shakespeare, the natural genius. Nicholas Rowe, to whom may be traced the legend that Jonson owed the production of Every Man in his Humour to Shakespeare's intercession, likewise attributed Jonson's excellence to learning, which did not raise him quite to the level of genius. A consensus formed: Jonson was the first English poet to understand classical precepts with any accuracy, and he was the first to apply those precepts successfully to contemporary life. But there were also more negative spins on Jonson's learned art; for instance, in the 1750s, Edward Young casually remarked on the way in which Jonson's learning worked, like Samson's strength, to his own detriment. Earlier, Aphra Behn, writing in defence of female playwrights, had pointed to Jonson as a writer whose learning did not make him popular; unsurprisingly, she compares him unfavourably to Shakespeare. Particularly in the tragedies, with their lengthy speeches abstracted from Sallust and Cicero, Augustan critics saw a writer whose learning had swamped his aesthetic judgment.

In this period, Alexander Pope is exceptional in that he noted the tendency to exaggeration in these competing critical portraits: "It is ever the nature of Parties to be in extremes; and nothing is so probable, as that because Ben Johnson had much the most learning, it was said on the one hand that Shakespear had none at all; and because Shakespear had much the most wit and fancy, it was retorted on the other, that Johnson wanted both."^[52] For the most part, the 18th century consensus remained committed to the division that Pope doubted; as late as the 1750s, Sarah Fielding could put a brief recapitulation of this analysis in the mouth of a "man of sense" encountered by David Simple.

Though his stature declined during the 18th century, Jonson was still read and commented on throughout the century, generally in the kind of comparative and dismissive terms just described. Heinrich Wilhelm von Gerstenberg translated parts of Peter Whalley's edition into German in 1765. Shortly before the Romantic revolution, Edward Capell offered an almost unqualified rejection of Jonson as a dramatic poet, who (he writes) "has very poor pretensions to the high place he holds among the English Bards, as there is no original manner to distinguish him and the tedious sameness visible in his plots indicates a defect of Genius."^[53] The disastrous failures of productions of Volpone and Epicoene in the early 1770s no doubt bolstered a widespread sense that Jonson had at last grown too antiquated for the contemporary public; if he still attracted enthusiasts such as Earl Camden and William Gifford, he all but disappeared from the stage in the last quarter of the century.

The romantic revolution in criticism brought about an overall decline in the critical estimation of Jonson. Hazlitt refers dismissively to Jonson's "laborious caution." Coleridge, while more respectful, describes Jonson as psychologically superficial: “He was a very accurately observing man; but he cared only to observe what was open to, and likely to impress, the senses.” Coleridge placed Jonson second only to Shakespeare; other romantic critics were less approving. The early 19th century was the great age for recovering Renaissance drama. Jonson, whose reputation had survived, appears to have been less interesting to some readers than writers such as Thomas Middleton or John Heywood, who were in some senses "discoveries" of the 19th century. Moreover, the emphasis which the romantic writers placed on imagination, and their concomitant tendency to distrust studied art, lowered Jonson's status, if it also sharpened their awareness of the difference traditionally noted between Jonson and Shakespeare. This trend was by no means universal, however; William Gifford, Jonson's first editor of the 19th century, did a great deal to defend Jonson's reputation during this period of general decline. In the next era, Swinburne, who was more interested in Jonson than most Victorians, wrote, "The flowers of his growing have every quality but one which belongs to the rarest and finest among flowers: they have colour, form, variety, fertility, vigour: the one thing they want is fragrance” – by “fragrance,” Swinburne means spontaneity.

In the 20th century, Jonson’s body of work has been subject to a more varied set of analyses, broadly consistent with the interests and programmes of modern literary criticism. In an essay printed in The Sacred Wood, T. S. Eliot attempted to repudiate the charge that Jonson was an arid classicist by analysing the role of imagination in his dialogue. Eliot was appreciative of Jonson's overall conception and his "surface", a view consonant with the modernist reaction against Romantic criticism, which tended to denigrate playwrights who did not concentrate on representations of psychological depth. Around mid-century, a number of critics and scholars followed Eliot's lead, producing detailed studies of Jonson's verbal style. At the same time, study of Elizabethan themes and conventions, such as those by E. E. Stoll and M. C. Bradbrook, provided a more vivid sense of how Jonson's work was shaped by the expectations of his time.

The proliferation of new critical perspectives after mid-century touched on Jonson inconsistently. Jonas Barish was the leading figure among critics who appreciated Jonson's artistry. On the other hand, Jonson received less attention from the new critics than did some other playwrights and his work was not of programmatic interest to psychoanalytic critics. But Jonson's career eventually made him a focal point for the revived sociopolitical criticism. Jonson's works, particularly his masques and pageants, offer significant information regarding the relations of literary production and political power, as do his contacts with and poems for aristocratic patrons; moreover, his career at the centre of London's emerging literary world has been seen as exemplifying the development of a fully commodified literary culture. In this respect he is seen as a transitional figure, an author whose skills and ambition led him to a leading role both in the declining culture of patronage and in the rising culture of mass media.

Poetry[edit]

Jonson has been called 'the first poet laureate'.^[54] If Jonson's reputation as a playwright has traditionally been linked to Shakespeare, his reputation as a poet has, since the early 20th century, been linked to that of John Donne. In this comparison, Jonson represents the cavalier strain of poetry, emphasising grace and clarity of expression; Donne, by contrast, epitomised the metaphysical school of poetry, with its reliance on strained, baroque metaphors and often vague phrasing. Since the critics who made this comparison (Herbert Grierson for example), were to varying extents rediscovering Donne, this comparison often worked to the detriment of Jonson's reputation.

In his time Jonson was at least as influential as Donne. In 1623, historian Edmund Bolton named him the best and most polished English poet. That this judgment was widely shared is indicated by the admitted influence he had on younger poets. The grounds for describing Jonson as the "father" of cavalier poets are clear: many of the cavalier poets described themselves as his "sons" or his "tribe". For some of this tribe, the connection was as much social as poetic; Herrick described meetings at "the Sun, the Dog, the Triple Tunne".^[3] All of them, including those like Herrick whose accomplishments in verse are generally regarded as superior to Jonson's, took inspiration from Jonson's revival of classical forms and themes, his subtle melodies, and his disciplined use of wit. In these respects Jonson may be regarded as among the most important figures in the prehistory of English neoclassicism.

The best of Jonson's lyrics have remained current since his time; periodically, they experience a brief vogue, as after the publication of Peter Whalley's edition of 1756. Jonson's poetry continues to interest scholars for the light which it sheds on English literary history, such as politics, systems of patronage and intellectual attitudes. For the general reader, Jonson's reputation rests on a few lyrics that, though brief, are surpassed for grace and precision by very few Renaissance poems: "On My First Sonne"; "To Celia"; "To Penshurst"; and the epitaph on Salomon Pavy, a boy player abducted from his parents who acted in Jonson's plays.

Jonson's works[edit]

Plays[edit]

A Tale of a Tub, comedy (c. 1596 revised performed 1633; printed 1640)
The Isle of Dogs, comedy (1597, with Thomas Nashe; lost)
The Case is Altered, comedy (c. 1597–98; printed 1609), possibly with Henry Porter and Anthony Munday
Every Man in His Humour, comedy (performed 1598; printed 1601)
Every Man out of His Humour, comedy ( performed 1599; printed 1600)
Cynthia's Revels (performed 1600; printed 1601)
The Poetaster, comedy (performed 1601; printed 1602)
Sejanus His Fall, tragedy (performed 1603; printed 1605)
Eastward Ho, comedy (performed and printed 1605), a collaboration with John Marston and George Chapman
Volpone, comedy (c. 1605–06; printed 1607)
Epicoene, or the Silent Woman, comedy (performed 1609; printed 1616)
The Alchemist, comedy (performed 1610; printed 1612)
Catiline His Conspiracy, tragedy (performed and printed 1611)
Bartholomew Fair, comedy (performed 31 October 1614; printed 1631)
The Devil is an Ass, comedy (performed 1616; printed 1631)
The Staple of News, comedy (performed Feb. 1626; printed 1631)
The New Inn, or The Light Heart, comedy (licensed 19 January 1629; printed 1631)
The Magnetic Lady, or Humors Reconciled, comedy (licensed 12 October 1632; printed 1641)
The Sad Shepherd, pastoral (c. 1637, printed 1641), unfinished
Mortimer His Fall, history (printed 1641), a fragment

Masques[edit]

The Coronation Triumph, or The King's Entertainment (performed 15 March 1604; printed 1604); with Thomas Dekker
A Private Entertainment of the King and Queen on May-Day (The Penates) (1 May 1604; printed 1616)
The Entertainment of the Queen and Prince Henry at Althorp (The Satyr) (25 June 1603; printed 1604)
The Masque of Blackness (6 January 1605; printed 1608)
Hymenaei (5 January 1606; printed 1606)
The Entertainment of the Kings of Great Britain and Denmark (The Hours) (24 July 1606; printed 1616)
The Masque of Beauty (10 January 1608; printed 1608)
The Masque of Queens (2 February 1609; printed 1609)
The Hue and Cry After Cupid, or The Masque at Lord Haddington's Marriage (9 February 1608; printed c. 1608)
The Entertainment at Britain's Burse (11 April 1609; lost, rediscovered 1997)^[55]
The Speeches at Prince Henry's Barriers, or The Lady of the Lake (6 January 1610; printed 1616)
Oberon, the Faery Prince (1 January 1611; printed 1616)
Love Freed from Ignorance and Folly (3 February 1611; printed 1616)
Love Restored (6 January 1612; printed 1616)
A Challenge at Tilt, at a Marriage (27 December 1613/1 January 1614; printed 1616)
The Irish Masque at Court (29 December 1613; printed 1616)
Mercury Vindicated from the Alchemists (6 January 1615; printed 1616)
The Golden Age Restored (1 January 1616; printed 1616)
Christmas, His Masque (Christmas 1616; printed 1641)
The Vision of Delight (6 January 1617; printed 1641)
Lovers Made Men, or The Masque of Lethe, or The Masque at Lord Hay's (22 February 1617; printed 1617)
Pleasure Reconciled to Virtue (6 January 1618; printed 1641) The masque was a failure; Jonson revised it by placing the anti-masque first, turning it into:
For the Honour of Wales (17 February 1618; printed 1641)
News from the New World Discovered in the Moon (7 January 1620: printed 1641)
The Entertainment at Blackfriars, or The Newcastle Entertainment (May 1620?; MS)
Pan's Anniversary, or The Shepherd's Holy-Day (19 June 1620?; printed 1641)
The Gypsies Metamorphosed (3 and 5 August 1621; printed 1640)
The Masque of Augurs (6 January 1622; printed 1622)
Time Vindicated to Himself and to His Honours (19 January 1623; printed 1623)
Neptune's Triumph for the Return of Albion (26 January 1624; printed 1624)
The Masque of Owls at Kenilworth (19 August 1624; printed 1641)
The Fortunate Isles and Their Union (9 January 1625; printed 1625)
Love's Triumph Through Callipolis (9 January 1631; printed 1631)
Chloridia: Rites to Chloris and Her Nymphs (22 February 1631; printed 1631)
The King's Entertainment at Welbeck in Nottinghamshire (21 May 1633; printed 1641)
Love's Welcome at Bolsover ( 30 July 1634; printed 1641)

Other works[edit]

Epigrams (1612)
The Forest (1616), including To Penshurst
On My First Sonne (1616), elegy
A Discourse of Love (1618)
Barclay's Argenis, translated by Jonson (1623)
The Execration against Vulcan (1640)
Horace's Art of Poetry, translated by Jonson (1640), with a commendatory verse by Edward Herbert
Underwood (1640)
English Grammar (1640)
Timber, or Discoveries made upon men and matter, as they have flowed out of his daily readings, or had their reflux to his peculiar notion of the times, a commonplace book
To Celia (Drink to Me Only With Thine Eyes), poem

It is in Jonson's Timber, or Discoveries... that he famously quipped on the manner in which language became a measure of the speaker or writer:

Language most shows a man: Speak, that I may see thee. It springs out of the most retired and inmost parts of us, and is the image of the parent of it, the mind. No glass renders a man’s form or likeness so true as his speech. Nay, it is likened to a man; and as we consider feature and composition in a man, so words in language; in the greatness, aptness, sound structure, and harmony of it.

— Ben Jonson, 1640 (posthumous)^[56]

As with other English Renaissance dramatists, a portion of Ben Jonson's literary output has not survived. In addition to The Isle of Dogs (1597), the records suggest these lost plays as wholly or partially Jonson's work: Richard Crookback (1602); Hot Anger Soon Cold (1598), with Porter and Henry Chettle; Page of Plymouth (1599), with Dekker; and Robert II, King of Scots (1599), with Chettle and Dekker. Several of Jonson's masques and entertainments also are not extant: The Entertainment at Merchant Taylors (1607); The Entertainment at Salisbury House for James I (1608); and The May Lord (1613–19).

Finally, there are questionable or borderline attributions. Jonson may have had a hand in Rollo, Duke of Normandy, or The Bloody Brother, a play in the canon of John Fletcher and his collaborators. The comedy The Widow was printed in 1652 as the work of Thomas Middleton, Fletcher and Jonson, though scholars have been intensely sceptical about Jonson's presence in the play. A few attributions of anonymous plays, such as The London Prodigal, have been ventured by individual researchers, but have met with cool responses.^[57]

Notes[edit]

^ Jonson's claim is interesting, since early printings of Shakespeare's work suggest that he tended to start a scene before giving up and trying again. His failure to cross the original attempts out left his printers unsure what needed to be deleted, though also allowed an insight into his creative process.^[46]

Citations[edit]

Bednarz, James P. (2001), Shakespeare and the Poets' War, New York: Columbia University Press, ISBN 978-0-2311-2243-6.
Bentley, G. E. (1945), Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared, Chicago: University of Chicago Press, ISBN 978-0-2260-4269-5.
Bush, Douglas (1945), English Literature in the Earlier Seventeenth Century, 1600–1660, Oxford History of English Literature, Oxford: Clarendon Press.
Butler, Martin (Summer 1993). "Jonson's Folio and the Politics of Patronage". Criticism. Wayne State University Press. 35 (3): 377–90.
Chute, Marchette. Ben Jonson of Westminster. New York: E.P. Dutton, 1953
Doran, Madeline. Endeavors of Art. Madison, Wis.: University of Wisconsin Press, 1954
Donaldson, Ian (2011). Ben Jonson: A Life. Oxford: Oxford University Press. pp. 181–2. ISBN 9780198129769. Retrieved 20 March 2013.
Eccles, Mark. "Jonson's Marriage." Review of English Studies 12 (1936)
Eliot, T.S. "Ben Jonson." The Sacred Wood. London: Methuen, 1920
Jonson, Ben. Discoveries 1641, ed. G. B. Harrison. New York: Barnes & Noble, 1966
Jonson, Ben, David M. Bevington, Martin Butler, and Ian Donaldson. 2012. The Cambridge edition of the works of Ben Jonson. Cambridge: Cambridge University Press.
Knights, L. C. Drama and Society in the Age of Jonson. London: Chatto and Windus, 1968
Logan, Terence P., and Denzell S. Smith. The New Intellectuals: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, Nebraska, University of Nebraska Press, 1975
MacLean, Hugh, editor. Ben Jonson and the Cavalier Poets. New York: Norton Press, 1974
Ceri Sullivan, The Rhetoric of Credit. Merchants in Early Modern Writing (Madison/London: Associated University Press, 2002)
Teague, Frances. "Ben Jonson and the Gunpowder Plot." Ben Jonson Journal 5 (1998). pp. 249–52
Thorndike, Ashley. "Ben Jonson." The Cambridge History of English and American Literature. New York: Putnam, 1907–1921

References[edit]

^ Ben Jonson - Bibliotheca Alexandrina
^ Bland, Mark (2004). "Ben Jonson and the Legacies of the Past". Huntington Library Quarterly. 67 (3): 371–400. doi:10.1525/hlq.2004.67.3.371. JSTOR 10.1525/hlq.2004.67.3.371.
^ Jump up to:^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p Ward, Adolphus William (1911). "Jonson, Ben" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. 15 (11th ed.). Cambridge University Press. pp. 502–507.
^ Ben Jonson at the Encyclopædia Britannica
^ Jump up to:^a ^b "Ben Jonson", Grolier Encyclopedia of Knowledge, volume 10, p. 388.
^ Evans, Robert C (2000). "Jonson's critical heritage". In Harp, Richard; Stewart, Stanley (eds.). The Cambridge companion to Ben Jonson. Cambridge, England: Cambridge University Press. pp. 189–202. ISBN 0-521-64678-2.
^ Donaldson, Ian (2004). "Jonson, Benjamin [Ben] (1572–1637), poet and playwright | Oxford Dictionary of National Biography". doi:10.1093/ref:odnb/15116.
^ Donaldson, Ian (2004). "Jonson, Benjamin [Ben] (1572–1637), poet and playwright | Oxford Dictionary of National Biography". doi:10.1093/ref:odnb/15116.
^ Jump up to:^a ^b Robert Chambers, Book of Days
^ "Ben Jonson", Encyclopædia Britannica, 15th Edition, pp. 611
^ Jump up to:^a ^b Drummond, William (1619). Heads of a Conversation betwixt the Famous Poet Ben Johnson and William Drummond of Hawthornden, January 1619.
^ "Ben Jonson", Encyclopædia Britannica, 15th Edition, p. 611
^ "Thomas Kyd", Grolier Encyclopedia of Knowledge, volume 11, p. 122.
^ Jump up to:^a ^b "Ben Jonson", Encyclopædia Britannica, 15th Edition, p. 612.
^ Bowers, Fredson T. (July 1937). "Ben Jonson the Actor". Studies in Philology. 34 (3): 392–406. JSTOR 4172372.
^ Miola, Robert S. (2012). "The Case Is Altered, Introduction". The Cambridge Edition of the Works of Ben Jonson. Cambridge, UK: Cambridge University Press.
^ Jump up to:^a ^b ^c ^d Donaldson, Ian (2008). "Benjamin Jonson (1572–1637)". Oxford Dictionary of National Biography. Oxford, England: Oxford University Press. doi:10.1093/ref:odnb/15116.
^ Gossett, Suzanne (2004). "Marston, Collaboration, and "Eastward Ho!"". Renaissance Drama. New series. 33: 181–200. doi:10.1086/rd.33.41917391. JSTOR 41917391.
^ Jump up to:^a ^b Donaldson 2011, p. 428
^ Jump up to:^a ^b Loxley, James; Groundwater, Anna; Sanders, Julie (4 December 2014). Ben Jonson's walk to Scotland: an annotated edition of the 'foot voyage'. Loxley, James, 1968–, Groundwater, Anna, Sanders, Julie, 1968–. Cambridge, United Kingdom. pp. 94, 96. ISBN 9781107003330. OCLC 884139272.
^ Donaldson (2011: 56)
^ Riggs (1989: 9)
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^ Jump up to:^a ^b Riggs (1989: 51–52)
^ Jump up to:^a ^b Donaldson (2011: 134–140)
^ Harp; Stewart (2000: xiv)
^ Donaldson (2011: 143)
^ Donaldson (2011: 229)
^ Maxwell, Julie (2010). "Religion". In Sanders, Julie (ed.). Ben Jonson in context. Cambridge, England: Cambridge University Press. p. 231. ISBN 978-0-521-89571-2.
^ Donaldson (2011: 228–9)
^ Walker, Anita; Dickerman, Edmund (1995). "Mind of an Assassin: Ravaillac and the Murder of Henri IV of France". Canadian Journal of History. Saskatoon, Saskatchewan. 30 (2): 201–229. doi:10.3138/cjh.30.2.201.
^ Jump up to:^a ^b Donaldson (2011: 272)
^ Jon Morrill, quoted in Donaldson (2011: 487)
^ Riggs (1989: 177)
^ van den Berg, Sara (30 November 2000). "True relation: the life and career of Ben Jonson". In Harp, Richard; Stewart, Stanley (eds.). The Cambridge Companion to Ben Jonson. Cambridge, England: Cambridge University Press. p. 10. ISBN 0-521-64678-2.
^ Maclean, p. 88
^ Jump up to:^a ^b "Monuments & Gravestones: Ben Jonson". Westminster Abbey 1065 to today. Dean and Chapter of Westminster Abbey. Archived from the original on 7 January 2008. Retrieved 26 May 2008.
^ Hunt, Leigh (9 April 1828). "His epitaph, and Ben Jonson's". Life of Sir William Davenant, with specimens of his poetry. The Companion. XIV. p. 187. OCLC 2853686.
^ Adams, J. Q. The Jonson Allusion Book. New Haven: Yale University Press, 1922. pp. 195–6
^ Dunton, Larkin (1896). The World and Its People. Silver, Burdett. p. 34.
^ Donaldson (2011:1)
^ Stubbs, John (24 February 2011). Reprobates. London: Viking Penguin. p. 182. ISBN 978-0-670-91753-2. …a plea for the passerby's prayers (the Latin imperative orare)…
^ Fletcher, Angus (2007). "Structure of an epitaph". Time, space, and motion in the age of Shakespeare. Cambridge, MA: Harvard University Press. p. 95. ISBN 978-0-674-02308-6. At first sight the words seem clear enough…but some…have believed that the words intended to say, in Latin, "Pray for Ben Jonson"…
^ "Ben Jonson". Archived from the original on 19 August 2014. Retrieved 2014-08-18.
^ Doran, 120ff
^ Honigmann, E. A. J. (1 February 2005). "Shakespeare's Deletions and False Starts". The Review of English Studies. 56 (223): 37–48. doi:10.1093/res/hgi003.
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^ Pogue, Kate Emery (2006). Shakespeare's Friends. London: Praeger. p. 99. ISBN 0275989569. Retrieved 25 September2016. praised than to be pardoned age but for all time.
^ W.T. Baldwin 's William Shakspere's Smalle Latine and Lesse Greeke, 1944
^ Morley, Henry, Introduction to Discoveries Made Upon Men and Matter and Some Poems 1892 kindle ebook 2011 ASIN B004TOT8FQ
^ Hadfield, Andrew (24 July 2012). "Why should William Shakespeare have the last word over Ben Jonson?". Telegraph.co.uk.
^ Alexander Pope, ed. Works of Shakespeare (London, 1725), p. 1
^ Quoted in Craig, D. H., ed. Jonson: The Critical Heritage (London: Routledge, 1995). p. 499
^ Schmidt, Michael, Lives of the Poets, Weidenfeld & Nicolson 1998 ISBN 9780753807453
^ Scott, Alison V. (September 2006). "Marketing Luxury at the New Exchange: Jonson's Entertainment at Britain's Burse and the Rhetoric of Wonder". Early Modern Literary Studies. 12 (2): 5.1–19. Retrieved 13 September 2014.
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^ Logan and Smith, pp. 82–92