The conclusion suggests that when the law of nations traded poetry for professorships and donned the new garb of international law, it did not erase its literary history. Early modern poetics remains present in the modern structures of international law. From the plural, overlapping landscape of early modern genres came the plural, overlapping landscape of subspecialties now identified as international law. The eighteenth century gave us two altars at which we might sacrifice the literary history of international law: literary aesthetics and a professionalized field of international law. We do better, however, by studying the ways early modern genres continue to shape our world.
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