Abstract
In its most obvious aspect, Milton's ‘Mansus’ is a panegyric to Giovanni Battista Manso, the old Neapolitan nobleman and patron of poets whom Milton met on his Italian journey in 1638-1639. But ‘Mansus', like so many of Milton's mature poems, refuses to rest passively within its genre as a panegyric—it combines praise with the contemplation of death, it turns poetic conventions upside down, and in the end it creates not merely an encomium of Manso but a celebration of the harmony of things.
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