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Robert Burton

The Anatomy of Melancholy

1651 English with a close modern English rendering

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The Anatomy of MelancholyPersistence and Opportunity of Time and Place; Meetings, Conversation…

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Persistence and Opportunity of Time and Place; Meetings, Conversation…

1651 English

492

Robert Duke of Normandy, riding by Falais, spied Arlette a fair maid, as she danced on a green, and was so much enamoured with the object, that he must needs lye with her that night. Owen Tudor won Queen Catharines affection in a dance, falling by chance with his head in her lap. Who cannot parallel these stories out of his experience?

Speusippus a noble gallant in that greek Aristenætus, seeing Panareta a fair yong Gentlewoman dancing by accident, was so far in love with her, that for a long time after he could think of nothing but Panareta: he came raving home full of Panareta: Who would not admire her, who would not love her, that should but see her dance as I did? O admirable, O divine Panareta! I have seen old and new Rome, many fair Cities, many proper women, but never any like to Panareta, they are dross, dowdies all to Panareta! O how she danced, how she tript, how she turn’d, with what a grace! happy is that man that shall injoy her. O most incomparable, only, Panareta!

When Xenophon in Symposio or Banquet, had discoursed of love, and used all the engines that might be devised, to move Socrates, amongst the rest, to stir him the more, he shuts up all with a pleasant Enterlude or dance of Dionysius and Ariadne.

First Ariadne dressed like a Bride came in and took her place; by and by Dionysius entred, dancing to the Musick. The spectators did all admire the yong mans carriage; and Ariadne her self was so much affected with the sight, that she could scarce sit. After a while Dionysius beholding Ariadne, and incensed with love, bowing to her knees, embraced her first, and kissed her with a grace; she embraced him again, and kissed him with like affection, &c. as the dance required: but they that stood by and saw this, did much applaud and commend them both for it.

And when Dionysius rose up, he raised her up with him, and many pretty gestures, embraces, kisses, and love complements passed between them; which when they saw fair Bacchus and beautiful Ariadne so sweetly and so unfeignedly kissing each other, so really embracing, they swore they loved indeed, and were so enflamed with the object, that they began to rouse up themselves, as if they would have flown.

At the last when they saw them still, so willingly embracing, and now ready to go to the Bride-chamber, they were so ravished with it, that they that were unmarried, swore they would forthwith marry, and those that were married, called instantly for their horses, and gallopped home to their wives.

What greater motive can there be then this burning lust? What so violent an oppugner? Not without good cause therefore so many general Councels condemn it, so many Fathers abhor it, so many grave men speak against it: Use not the company of a woman, saith Syracides, 8. 4. that is a singer, or a dancer; neither hear, least thou be taken in her craftiness. In circo non tam cernitur quam discitur libido. Hædus holds, lust in Theaters is not seen, but learned.

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The Anatomy of Melancholy: Persistence and Opportunity of Time and Place; Meetings, Conversation…

p. 770

Robert, Duke of Normandy, riding past Falaise, saw a beautiful maiden, Arlette, dancing on a green, and was so captivated by the sight that he simply had to sleep with her that night. Owen Tudor won Queen Catherine’s affection at a dance when he happened to fall with his head in her lap. Who cannot find parallels to these stories in their own experience?

Speusippus, a noble gallant in the Greek writer Aristaenetus, happened to see a beautiful young gentlewoman, Panareta, dancing. He fell so deeply in love that for a long time afterwards he could think of nothing but Panareta. He came home raving, full of Panareta: “Who would not admire her, who would not love her, if he merely saw her dance as I did? Oh, wonderful, divine Panareta! I have seen old Rome and new Rome, many beautiful cities and many handsome women, but never anyone like Panareta. Beside Panareta they are all dross, all frumps! Oh, how she danced, how she tripped, how she turned, with what grace! Happy the man who shall possess her. Oh, incomparable, matchless Panareta!”

When Xenophon, in his Symposium or Banquet, has discussed love and employed every imaginable device to move Socrates among the rest, he concludes with a delightful interlude or dance of Dionysus and Ariadne, to stir him further.

“First Ariadne entered dressed as a bride and took her place; soon Dionysus came in, dancing to the music. All the spectators admired the young man’s bearing, and Ariadne herself was so moved by the sight that she could scarcely sit still. After a while Dionysus, gazing at Ariadne and fired with love, bent to her knees, embraced her and kissed her gracefully. She embraced him in return and kissed him with equal affection, and so on, as the dance required. The onlookers warmly applauded and praised them both.”

“When Dionysus rose, he lifted her up with him, and many charming gestures, embraces, kisses and loving courtesies passed between them. Seeing handsome Bacchus and beautiful Ariadne kissing each other so sweetly and sincerely, and embracing so truly, the spectators swore that they were really in love. So inflamed were they by the sight that they began to stir themselves as though they would take flight.”

“At last, seeing them still embracing so willingly and now ready to go to the bridal chamber, they were so transported that the unmarried men swore they would marry at once, while the married men immediately called for their horses and galloped home to their wives.”

What greater incitement can there be than this burning lust? What more violent assailant? It is with good reason, then, that so many general councils condemn dancing, so many Church Fathers abhor it, and so many grave men speak against it. “Do not keep company with a woman,” says Sirach 8:4, “who is a singer or dancer; neither listen, lest you be caught by her cunning.” “In the circus lust is not so much watched as learned.” Haedus maintains that lust in theatres is not seen but learned.

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About This Reading Edition

Robert Burton’s Anatomy ranges across medicine, philosophy, poetry, religion, and everyday life in its inquiry into melancholy. This complete parallel edition pairs the 1651 English text with a close modern English rendering, preserving the three Partitions, Democritus Junior’s address to the reader, verse, and the historical index.

Historical Text and Translation

The historical text follows the sixth edition, printed at Oxford for Henry Cripps in 1651, using the McGill University Library copy. The supplied edition documents missing printed pages 98–99 supplied from another 1651 copy at the Bavarian State Library. Historical folio labels and their irregularities remain visible; web reader numbers identify reflowed passages and do not claim to reproduce PDF pagination.

About Diotimos Editions

Diotimos Editions prepared the close modern English rendering and editorial matter. All 8,755 original and modern passage pairs remain aligned, with verse breaks, italics, continuations, and linked annotations preserved. Burton’s 6,781 historical notes retain their attribution; 6,895 editorial notes remain distinct. The introduction, Note on the Text, contextual lexicon, indexes, source documentation, and bibliography are included. The engraved frontispiece remains available in the original downloads.

Rights

Burton’s historical text is in the public domain. The modern English rendering, introduction, notes, and editorial matter are © 2026 Diotimos Editions and appear with the site owner’s permission. The complete supplied PDF, EPUB, Word, and Markdown files remain available unchanged. The PDF and Word edition preserve the original parallel page layout.