ABSTRACTS

Matthew Allen. “‘Entertaining the Irksome Hours’: Paradise Lost 2.521–76 as the Fallen Counterpart of Milton's Curriculum in Of Education.”Peter Auksi. “‘Considerate Building’: The Scriptural Roots of Areopagitica.”Andrew T. Barnaby. “‘Reason is but choosing’: Moral Agency and the Call to Discipleship in Milton's Readie and Easie Way.”Nancy K. Barnard. “‘In Mind Prepared’: Proclaiming the Kingdom of God in Paradise Lost.”R. D. Bedford. “Irony in L ‘Allegro and Il Penseroso.”Tony Bellette. “Milton and the Baroque: A Reassessment.”Joan Heiges Blythe. “Sex‐Marked Direct Objects of Desire in Paradise Lost.”David Boocker. “Milton at Vallombrosa.”James B. Brophy. “Blake's Reinterpretation of Comus: Charity Regained.”Lana Cable. “The Politics of Decorum in Protestant Satire and Milton's Polemics.”Douglas Chambers. “Improved by Tract of Time: Art's Synopticon in Paradise Lost 12.”Alexander Chameyev and Nina Diakonova. “Byron's Manfred and Romantic Milton Worship.”Annemarie Christy. “Satan, Sin, and Death: A Paradigm of the Incestuous Family.”Thomas N. Corns, Lou Burnard, and Roy Flannagan. “Electronic Miltons, Past, Present, and To Come.”Denise Cuthbert. “Milton, Marvell and Queen Christina.”R. W. Desai. “The Human Norm in Paradise Lost: Thus measuring things in Heav‘n by things on Earth.’”Jackie Di Salvo. “Manly Reformation in Samson Agonistes.”Martin K. Doudna. “‘In Our Image’: Father and Son in Paradise Lost.”Charles W. Durham. “Satan and the Hierarchy of Hell in Paradise Lost.”Angela Esterhammer. “Words, Worlds, and Speech Acts: A Miltonic Poetics of Creation.”J. Martin Evans. “Milton's Imperial Epic.”Robert T. Fallon. “The ‘Mole’ and the ‘Lanthorn’: Milton's State Letter to Tuscany.”Ida Fasel. “The Dialectic of the Oxymoron in Paradise Lost.”Noam Flinker. “Pagan Holiday and National Conflict: A Philistine Reading of Samson Agonistes.”Claire Fowler. “The Commonwealth ‘miscalled’: Iconoclasm and Mythography in Eikonoklastes.”Coburn Freer. “A Victorian Poetic Critique of Milton.”Donald M. Friedman. “‘Sex’ in Paradise Lost.”Bryan N. S. Gooch. “Handel's L'Allegro, il Penseroso, ed il Moderato: A Reassessment.”Achsah Guibbory. “Idolatrous Images, Imitation, and True Creation in Milton's Eikonoklastes.”John K. Hale. “The Pre‐Criticism of Milton's Latin Verse, Illustrated from the Ode Ad Joannem Rousium.”R. F. Hall. “Pronouns, Tenses, and Fluidity in the Nativity Ode.”Gary D. Hamilton. “Paradise Regained and the Private Houses.”Philip Hardie. “Milton's Reading of Lucretius and the Reader in Lucretius.”J. P. Hardy. “The Tempter Foiled.”Dayton Haskin. “Choosing the Better Part with Mary and with Ruth.”Burton Hatlen. “When God Smiles: Paradise Lost 8.311–559.”Wyman H. Herendeen. “Milton's Accedence Commenc't Grammar and the Deconstruction of Grammatical Tyranny.”T. H. Howard‐Hill. “Milton and Contemporary Theatre: An Investigation of Experience and Influence.”Keith N. Hull. “Rhyme and Disorder in Samson Agonistes.”Lee M. Johnson. “Language and the Illusion of Innocence in Paradise Lost.”Motohiro Kisaichi. “Comus and the Proserpina Myth.”Thomas A. Langford. “‘That one talent which is death to hide’: The Poet as Teacher.”John Leonard. “Milton's Vow of Celibacy: A Reconsideration of the Evidence.”Walter S. H. Lim. “What Happens When God Doesn't Speak in Samson Agonistes?”Peter Lindenbaum. “The Poet in the Marketplace: Milton and Samuel Simmons.”David Loewenstein. “Paradise Lost and the Politics of Rebellion.”Bei‐Yei Loh. “Lycidas as the Manifesto of a Divinely Dedicated Scholar‐Poet and ‘Church‐outed’ Reformer.”Kristin Pruitt McColgan. “Abundant Gifts: Hierarchy and Reciprocity in Paradise Lost.”Donald Peter McDonough. “The Iconography of Milton's expulsion Scene.”Polly Mander. “The Charms of Milton's Ludlow Masque.”Catherine Gimelli Martin. “The ‘Artifice of Eternity’: The Return(s) of a Miltonic Metaphor.”Christopher Martin. “Contending with the Cyclops: Nobodies and Somebodies in the Defensio Secunda.”Michael A. Mikolajczak. “Milton's ‘Reformed’ Heaven.”Janel Mueller. “Dateline: London, May 1641. Byline: John Milton, English Republican.”Brian J. Opie. “Urania Revisited.”Ted‐Larry Pebworth. “‘Conversation with His Like’: Masculine Friendship in Paradise Lost.”G. Nageswara Rao. “Christ as ‘Poornapragna.’”David Reid. “Free Obedience and Freedom from Constraint in Paradise Lost.”Stella P. Revard. “Alpheus, Arethusa, and the Pindaric Pursuit in Lycidas.”Lawrence F. Rhu. “Milton's Change of Note: Italian Precedents for Tragedy in Eden.”David Robertson. “Soliloquy and Self‐Creation in Paradise Lost.”John P. Rumrich. “Milton Criticism and the Matter of Chaos.”Peggy Samuels. “Samson Agonistes and English Renaissance Closet Drama.”Malabika Sarkar. “Milton's Satan and the Renaissance Magus‐Astronomer.”Michael C. Schoenfeldt. “‘So Absolute She Seems’: Authority and Desire in Paradise Lost.”Paul R. Sellin. “Alexander Morus in Court: Some Insight into Milton's Polemics in Pro Se Defensio.”Hideyuki Shitaka. “The Aeneid and the Bible in Paradise Lost.”Louise Simons. “The Prairie as Eden: The Miltonic Cooper.”Ken Simpson. “The Discipline of the Word in Milton's Anti‐Episcopal Tracts.”Michael R. G. Spiller. “Directing the Audience in Samson Agonistes.”Claude J. Summers. “The (Homo)Sexual Temptation of Paradise Regained.”Margo Swiss. “Satan's Obduracy in Paradise Lost.”John S. Tanner. “Adam's Doom: Knowing Good by Evil in Milton's Eden.”Roberta White. “Milton's Presence in the Poetry of Nemerov and Berryman.”Michael Wilding. “‘Their Sex Not Equal Seem'd’: Equality in Paradise Lost.”Susanne Woods. “Milton's Poetic Authority and Early Protestant Women Poets.”

'Threshold Poetics: Milton and Intersubjectivity' is a study of the challenge intersubjective experience poses to doctrinal formulations of difference. Focusing on 'Paradise Lost' and 'Samson Agonistes' and using feminist and relational psychoanalytic theory, the project examines representations of looking, working, eating, conversing, and touching, to argue that encounters between selves in 'threshold space' dismantle the binary oppositions that support categorical thinking. A key term throughout the study is recognition, defined as the capacity to tolerate both sameness and difference between separate selves. Recognition of likeness-in-difference thus undermines the exclusionary logic of patriarchal and poitical hierarchies. Both Eve and Dalila demonstrate the ability to respect the borders of the other while seeking out similarity, but where 'Paradise Lost' depicts the eventual achievements of intersubjective understanding between Adam and Eve after the fall, 'Samson Agonistes' records its failure when Samson, maintaining the boundaries of difference, refuses Dalila's effort to make contact.

Milton in the Age of Fish: Essays on Authorship, Text, and Terrorism – Edited by Michael Lieb and Albert C. Labriola

Jerry Leath Mills. “Satan as Cormorant, ‘Paradise Lost’ IV, 196.”Michael Wilding. “Jonson, Sin and Milton.”Barbara K. Lewalski. “Samson Agonistes and the ‘Tragedy’ of the Apocalypse.”David M. Miller. “From Delusion to Illumination: A Larger Structure for L'Allegro ‐ II Penseroso.”Leo Miller. “Milton's State Letters: The Lunig Version.”Barbara Breasted. “Another Bewitching of Lady Alice Egerton, the Lady of ‘Comus.’”Roberts W. French. “A Note on Spenser and Milton.”Philip Darraugh Ortego. “Comus, Circe, and the Whole Bit.”Valerie Carnes. “Time and Language in Milton's Paradise Lost.” ELHVincent B. Leitch. “The Landscape of Hell in Paradise Lost, Book I.”Michael Wilding. “‘Paradise Lost’: The Parliament of Hell.”

Spenserian MomentsGordonTeskey Cambridge, <scp>MA</scp>: Harvard <scp>UP</scp>, 2019. 552 pp. <scp>ISBN</scp> 13: 9780674988446. $47.00 (cloth).

The Renaissance is a period of heightened genre consciousness in literary theory and poetic practice, and Milton is arguably the most genreconscious of English poets. His great epic, Paradise Lost, is preeminently a poem about knowing and choosing - for the Miltonic Bard, for the characters, for the reader. One ground for such choices is genre, Milton's own choice and use of a panoply of literary forms, with their accumulated freight of cultural significances shared between author and audience. Critics have long recognized and continue to discover in Milton's poem an Edenic profusion of thematic and structural elements from a great many literary genres and modes, as well as a myriad of specific allusions to major literary texts and exemplary works. Almost everyone agrees that Paradise Lost is an epic whose closest structural affinities are to Virgil's Aeneid , and that it undertakes in some fashion to redefine classical heroism in Christian terms (Bowra; Di Cesare; Hunter; Steadman 1967). We now recognize as well how many major elements derive from other epics and epic-like poems. From Homer's Iliad : a tragic epic subject - here, the death and woe resulting from an act of disobedience; a hero (Satan) motivated like Achilles by a sense of injured merit; and the battle scenes in heaven. From the Odyssey : Satan's wiles and craft and Satan's Odysseus-like adventures on the perilous seas (of Chaos) and in new lands. From Hesiod's Theogony : many aspects of the war in heaven between the good and evil angels. And from Ovid's Metamorphoses : the pervasiveness of change and transformation - diabolic and divine - in the Miltonic universe (Blessington 1979; Mueller; Aryanpur; Steadman 1968, 194-208; Hughes 1965; Revard; Harding 1946; Lewalski 1985, 71-6; Martz)

H. Sylvia Anthony. “Mercurius Politicus.”Bruce P. Baker, II. “Ironic Contrasts in Milton's Paradise of Fools.”Paul J. Dolan. “Milton and Eliot: A Common Source.”Ann Gossman. “The Use of the Tree of Life in Paradise Lost.”John Huntley. “A Revaluation of the Chorus' Role in Milton's Samson Agonistes.”Lawrence W. Hyman. “Milton's Samson and the Modern Reader.”Harry Levin. “Paradises, Heavenly and Earthly.”George W. Nitchie. “Lycidas: a Footnote.”John T. Shawcross. “The Author of ‘A Postscript’.”J.M. Steadman. “Demetrius, Tasso, and Stylistic Variations in Paradise Lost.”J.M. Steadman. “‘Magnific Titles’: Satan's Rhetoric and the Argument of Nobility.”Joseph Anthony Wittreich, Jr. “Blake's Philosophy of Contraries: A New Source.”

Akira Arai. “Milton and Thomas Young.”(Rev.) C. M. George. “The Wolf Image in Milton.”David B. Morris. “Drama and stasis in Milton's ‘Ode on the Morning of Christ's Nativity.”Michael West. “The Consolatio in Milton's Funeral Elegies.”Christopher Grose. “Lucky Words: Process of Speech in Lycidas.”Catherine M. Shaw. “The Unity of Comus.” Xavier University StudiesPurvis E. Boyette. “Milton's Abstracted Sublimities: The Structure of Meaning in A Mask.”Robert A. Stein. “The Sources and Implications of the Jobean Analogies in Paradise Regained.”Donald L. Guss. “A Rrief Epic: Paradise Regained.”Albert C. Labriola. “Divine Urgency as a Motive for Conduct in Samson Agonistes.”Anthony Low. “No Power but of God:” Vengeance and Justice in Samson Agonistes.”Anthony Low. “The Astronomy of Paradise Lost.”Y. Z. Chang. “Why did Milton Err on Two Chinas?”Marilyn Gaddis Rose. “Milton, Chateaubriand, and Villiers de L'Isle‐Adam. Paradise Lost and Axel.”

Milton's preoccupation with the nature of language in Samson Agonistes becomes itself a major vehicle for describing psychic processes. He examines language nondiscursively through metaphors relating to words, hearing, seeing, sounds, and silence. By means of these metaphors, he portrays the nature of psychic disintegration and reintegration. He dramatizes this recovery of self in an internalized landscape rather than in the externalized metaphors of time and space found in Paradise Lost. In the various verbal encounters between the characters, who are themselves preoccupied with words, the different levels of discourse symbolize different levels of reality. In the transformation of Samson, the metaphor of hearing rises to prime importance, antecedent even to the ever-important Miltonic metaphor of light. Only after Samson works through the problem of self-definition on a verbal level does he attain insight. When he finally listens with his inner ear, there is no more language, but there is illumination. Paradoxically Milton shows the limitations and the creative possibilities of language for conveying the nature of nonverbal experiences.

The tragic action of Samson Agonistes develops through a contrast between the language of Samson and that of the Chorus. An essential clue to Milton's art in this drama lies in his effect of deliberately playing down the choruses in the middle, refusing to give the chorus very good lines, except toward the beginning and again toward the end. After each of the central episodes, Milton has given the chorus words that are for the most part dry and commonplace, often surprisingly flat. It would appear that Milton's use of rhyme and partial rhyme in the choruses has frequently the effect of lowering the tone of high seriousness and making impossible any high dignity in the choric speech. The basic effect is to stress, by contrast, the grandeur of Samson, the greatness of his mind and spirit. The weak and ordinary character of Manoa, the complex and enigmatic character of Dalila, and the braggart character of Harapha are all related to this basic contrast between Samson and the chorus.

This chapter discusses Milton's Christian temper. It is believed Milton did not belong to any worshipping Christian community. No existing records ecist to attest that he attended Christian service, or associated with a specific parish, or joined congregations. In an age of great divines, pastors, and preachers, Milton acknowledged no indebtedness to any man's ministerial support or guidance. The practice of his Christianity was non-congregational, domestic, and private. Milton's external Christian observance and inner spiritual life were both invisible. He never offered anything approaching a conversion narrative. When Milton approached matters of personal belief, it is intellectually and not experientially. In his Miltonic equivalent of a spiritual biography, the De Doctrina Christiana, he asserted that his search for truth was from his own original systematic exposition of the Christina doctrine. In his The Reason of Church-Government, Milton illustrates his own religious life by illustrating the coercive authority of the Episcopal Church and his conscientious refusal to submit to it. His anticlerical stance and his firm belief in the free debate and liberty to religion encouraged him to write prose and poems of unwavering intolerance of Roman Catholicism. Milton's Christian vision is neither congregation nor a remnant but that of just one man, who is reliant on his own intellectual and spiritual resource, and who, regardless of popular opinion, walked with integrity. Among Milton's critical and anticlerical works are Paradise Lost, The Reason of Church-Government, and Samson Agonistes.

Lines Per Page, Engravings, and Catchwords in Milton’s 1720 Poetical Works Hao Tianhu* (bio) John Milton’s Poetical Works published by Jacob Tonson II in 1720 is an important edition, not the least because Richard Bentley, “the greatest ever English classical scholar,”1 adopted it as the working copy for his “notorious”2 1732 edition of Paradise Lost. This lavish pair of large quarto volumes (with main sections of 590 and 527 pages respectively) included many engraved tailpieces, which placed special demands on the compositors. By analyzing material traces seldom examined—such as lines of text per page—we can infer with reasonable certainty how they operated. Along the way we may provide a rationale for some of the catchword errors3 by connecting these inconsistencies with the printing and publishing of the book, especially illustration. The Tonsons were well known for publishing deluxe books. William Thomas Lowndes, an eminent bibliographer of the early nineteenth century, defined Caesar’s Commentaries brought out by Jacob Tonson I in 1712 as “the most sumptuous classical work which England has produced.”4 The 1720 Milton is typically adorned with rich illustrations. Engraved vignettes open and conclude each of the books of Paradise Lost and Paradise Regained and the tragedy Samson Agonistes, finely framing the grand poems in pictorial art. Additionally, the first item in Poems, Lycidas, has a special headpiece. These thirty-five vignettes, plus eighteen historiated initials, help produce what Marcia R. Pointon calls “a splendid and expensive edition rather in the manner of the Venetian illustrated book of the [End Page 191] period.”5 R. G. Moyles, another modern scholar, confirms it as “impressively beautiful … a much-coveted book.”6 Pointon compares Louis Chéron, the illustrator responsible for most of the decorations in the edition, unfavorably with John Baptist Medina, another early illustrator of Milton, but still admits that “Chéron’s illustrations are nearly always more skillfully composed than Medina’s and [that] the tailpieces and historiated initials make for a much richer general effect.”7 The list of 334 subscribers in volume 1 indicates that the costly book was eagerly sought after by aristocratic and elite readers (dukes, duchesses, earls, lords, sirs, esquires, doctors, ladies, and the like).8 Clearly Tonson strived to meet the aesthetic demands of his prominent customers. The paper used (printing medium, 585 x 455 mm) makes a large and handsome object, and the 22-line page adds much elegance. Our count of lines of poetic text on a typical full page excludes the headline and the direction-line. The standard number of lines is 22, with occasional variations of 21 or 23. When a 23rd line occurs it crowds the page and sometimes includes both part of the text and a catchword. But this additional line occurs only in less important works—in Addison’s Notes in volume 1, and in Poems in volume 2, beginning toward the end of A Mask.9 All the major poems, Paradise Lost, Paradise Regained, Samson Agonistes, and Lycidas, which are pictorially ornamented, contain no crowded pages. The different typographical treatment of the minor works and the major poems is dictated by, and also registers, the hierarchical status of the two categories of text. The publisher’s typographical intervention participates imperceptibly yet actively in the reception of the author and the construction of textual meaning. The 21-line pages occur in the major works, as table 1 shows. These typographical irregularities can be explained by aesthetic necessities. The plate mark of the vignette at the end of a book usually occupies a space of ten lines or more. Thus we find some pages toward the end of a book or poem composed in 21 lines, to avoid the awkward situation either of a section closing on a page with insufficient space left for the tailpiece or of the tailpiece being printed alone (with no text) on a separate page. In all the above sections, the normal 22-line pages would lead to such an awkward situation, and the spatial demand of the tailpiece required the reduction of some pages to 21 lines (Lycidas is an exception; see below). At the same time, the compositors also...

206 Reviews (p. 69) and Guyon is 'presented at the outset as a bad reader, unaware of the true meaning which lies beneath the deceptive surface of the text' (p. 79). The world isno doubt fullof bad readers, but there ismore topoetry than the subject of poetry itself. TRINITY COLLEGE DUBLIN GERALDMORGAN Masculinity, Anti-Semitism and Early Modern English Literature: From theSatanic to theEffeminateyew. By MATTHEW BIBERMAN. Aldershot and Burlington, VT: Ashgate. 2004. XiV+26opp. ?45. ISBN 978-0-7546-5045-4. This book charts the relationship between anti-Semitism and gender, arguing that in the earlymodern period a prevalent stereotype of the hypermasculine 'Jew-Devil' began to give way to a contrasting stereotype of the effeminate 'Jew-Sissy'. Matthew Biberman illustrates this process with reference to the transition fromMarlowe's Barabas, violent, arrogant, and avaricious, to the emasculated Shylock, bewailing the loss of his stones, while Doll Common's performance as a Hebraic scholar in The Alchemist shows how 'the two previously antithetical concepts of femininity and Ju daism are now being synthesized' (p. 52). The principal reason for thisdevelopment, Biberman argues, is thedecline in amartial-heroic model ofmasculinity ofwhich the Jew-Devil is the forbidden extreme, and theconsolidation of bourgeois heterosexual ity: the Jew-Sissy 'validates the bourgeois oedipalized male by serving as itsextreme caricature' (p. 7I). In Paradise Lost, forexample, themarriage ofAdam and Eve is contrasted with the instances of 'illicitheterosexual sex' (p. 96) alluded to in Milton's roll-call of demons (I. 392-5 15),where Jew-Sissies such as Solomon, Zimri, and the sons of Eli fail to control their sinful desires. The Jew-Sissy's failure of self-control also motivates his attitude to divorce, which he sees as facilitating remarriage rather than (Christian, masculine) abstinence: bymaking Dalila Samson's wife in Samson Agonistes,Milton allows us tocontrast Samson's firstdivorce, with itsJew-Sissy aim of remarriage toDalila, with his second, which is a proto-Christian renunciation of sexuality.Milton too, of course, saw divorce as ameans to remarriage, a view that 'positions him not just as a woman, but as a Jewishwoman' (p. i i i); moreover, his Hebraic learning and Erastianism led him to be associated with Judaism by subse quent writers. Biberman provides a telling analysis both of the effacement bymany twentieth-century critics ofMilton's Jewish dimension, and of the anti-Semitism discernible within T. S. Eliot's critique ofMilton's stylistic exoticism. This is a verywide-ranging book, almost to thepoint of diffuseness: there are some sections, such as a discussion of earlymodern divorce practice as itapplies toEpicoene, and an attempt to relate The Alchemist to theGowrie conspiracy, that seem extrane ous to themain argument. However, perhaps its most striking feature is itsextremely schematic analysis of anti-Semitism. Biberman argues thatpost-medieval male sub jectivity can be understood as a position upon a 'theo-sexual matrix', and that the presence of the Jew-Sissy within this matrix prevents themale subject from reconcil ing his masculinity with his Christianity. The Holocaust was accordingly motivated by an ontological anti-Semitism: Jewsneeded tobe removed from theequation so that German men could deproblematize theirmasculinity. The earlier texts are explicitly readwith this teleology inmind, as when Biberman relates Shylock's Jew-Sissy re course to legal process rather than private revenge to the ambiguous gender of his vanquisher, Portia-Balthasar. I felt thatBiberman's analogy with twentieth-century Europe entailed a collapse of chronology that sat uncomfortably with the ostensible historicism of his initial hypothesis. Moreover, given thathis book purports to con trast modern and medieval anti-Semitic stereotypes, it is strange thathe pays so little attention to texts from the Middle Ages: 'The Prioress's Tale' and theCroxton Play MLR, 102. I, 2007 207 of theSacrament get a total of two pages. As a result,while there ismuch to praise in this book, such as theway Biberman relates the divergent sexualities of Donne and Milton to the Jew-Devil and Jew-Sissy stereotypes, and his reading ofGothic fictionas representing the returnof the repressed Jew-Devil, itsbroader argument is somewhat letdown by the fact thathe at once attempts todo toomuch and too little. LONDON SOUTH BANK UNIVERSITY TOM RUTTER RefiguringMimesis: Representation inEarly Modern...

Milton's presentation of God and Heaven is poetically convincing if various Hebraic elements in the books describing Heaven are closely examined. Hebraic allusions convey the religious and moral justification of God in council and in war and provide the conceptual link between the various scenes in Heaven. The counterpoise of justice and mercy in the dialogue between God and the Son is expressed through verbal echoes from the dialogues of Abraham and Moses with their God. Milton's ironic use of Psalm ii and other Old Testament references enhances the liveliness and dramatic power of the council scene in Book V, and his use of Hebraic figures like the Son's chariot and the angel Abdiel expresses the poet's conception of the war between the heavenly host and the rebel angels in Book VI as a battle in which spirit overcomes force.

While one might think that writing Paradise Lost would have fulfilled Milton’s poetic ambitions, all passion spent by the time he reached the wondrous concluding lines, “They hand in hand with wandring steps and slow, / Through Eden took thir solitarie way” (12.648–9), evidently, he had still more to say,1 and, in 1671, Paradise Regained and Samson Agonistes appeared in one volume.2 Yet, these poems are not discrete efforts.3 Together, they form a coherent thematic unit tied together by many verbal parallels and echoes. Both poems also contain so many allusions to Milton’s earlier work, that it seems as if Milton intended his final poems as a summa of his life’s work—a crowning achievement that summons all his previous writings on stage for a final, brilliant affirmation and curtain call.4 The matter, however, is much more complicated, for in Paradise Regained, he conjures up the presence of his earlier work not to confirm, but to dismiss it, and Samson Agonistes undoes whatever certainties Paradise Regained achieves.KeywordsStrong MotionMass MurderParadise LostReligious DoubtRighteous IndignationThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.