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Modern English Page · Branch 952 of 1495
Its Object, God; What His Beauty Is; How It Attracts. the Parts and People…
1651 English
635That by these figures, that glass, these spiritual eyes of contemplation, we might perceive some resemblance of his beauty, the love betwixt his Church and him. And so in the 45. Psalm this beauty of his Church is compared to a Queen in a vesture of gold of Ophir, embrodered raiment of needle worke, that the King might take pleasure in her beauty.
To incense us further yet, John in his Apocalypse, makes a description of that heavenly Jerusalem, the beauty of it, and in it the maker of it; Likening it to a city of pure gold, like unto cleer glass, shining and garnished with all manner of precious stones, having no need of Sun or Moon: for the Lambe is the light of it, the glory of God doth illuminate it; To give us to understand the infinite glory, beauty and happiness of it.
Not that it is no fairer then these creatures to which it is compared, but that this vision of his, this lustre of his divine majesty cannot otherwise be expressed to our apprehensions, no tongue can tell, no heart can conceive it, as Paul saith. Moses himself, Exod. 33.18. when he desired to see God in his glory, was answered that he might not endure it, no man could see his face and live.
Sensible forte destruit sensum, a strong object overcometh the sight, according to that axiome in Philosophy: fulgorem solis ferre non potes, multo magis creatoris: if thou canst not endure the Sun beams, how canst thou endure that fulgor and brightness of him that made the Sun?
The Sun it self and all that we can imagine, are but shadowes of it, ’tis visio præcellens, as Austin calls it, the quintessence of beauty this, which far exceeds the beauty of Heavens, Sun and Moon, Stars, Angels, gold and silver, woods, fair fields, and whatsoever is pleasant to behold. All those other beauties fail, vary, are subject to corruption, to loathing; But this is an immortall vision, a divine beauty, an immortall love, an indefatigable love and beauty, with sight of which we shall never be tired, nor wearied, but still the more we see the more we shall covet him.
For as one saith, where this vision is, there is absolute beauty; and where is that beauty, from the same fountain comes all pleasure and happiness; neither can beauty, pleasure, happiness, be separated from his vision or sight, or his vision from beauty, pleasure, happiness.
In this life we have but a glimpse of this beauty and happiness: we shall hereafter, as John saith, seem him as he is: thine eyes, as Isay promiseth, 33.17. shall behold the King in his glory, then shall we be perfectly inamoured, have a full fruition of it, desire, behold and love him alone as the most amiable and fairest object, or summum bonum, or cheifest good.
The Anatomy of Melancholy: Its Object, God; What His Beauty Is; How It Attracts. the Parts and People…
p. 952Through these figures, this mirror, these spiritual eyes of contemplation, we may perceive some likeness of his beauty and the love between his Church and him. Likewise, in Psalm 45, the beauty of his Church is compared to a “queen dressed in the gold of Ophir, embroidered garments of needlework, so that the king might take pleasure in her beauty.”
To inflame us still further, John, in his Revelation, describes that heavenly Jerusalem, its beauty and, within it, its maker, “likening it to a city of pure gold, like clear glass, shining and adorned with every kind of precious stone, needing neither sun nor moon, for the Lamb is its light and God’s glory illuminates it”—to make us understand its infinite glory, beauty and happiness.
It is not that it is no more beautiful than the created things to which it is compared, but that this vision of him, this radiance of his divine majesty, cannot otherwise be expressed in terms we can grasp. “No tongue can tell, no heart can conceive it,” as Paul says. Even Moses, Exodus 33:18, when he wished to see God in his glory, was told that he could not bear it: “No one could see his face and live.”
“An overpowering object of sense destroys the faculty of sense”: a powerful object overwhelms sight, according to that philosophical axiom. “You cannot bear the sun’s radiance, much less the Creator’s.” If you cannot bear the sun’s rays, how can you bear the radiance and brightness of him who made the sun?
The sun itself and everything we can imagine are only shadows of it. It is “a surpassing vision,” as Augustine calls it, the purest essence of beauty, “which far exceeds the beauty of the heavens, sun and moon, stars, angels, gold and silver, woods, fair fields and whatever is pleasant to behold.” All those other beauties fail, change, are subject to decay and can become repulsive. “But this is an immortal vision, a divine beauty, an immortal love, an inexhaustible love and beauty.” We shall never tire or grow weary of seeing it: the more we see, the more we shall desire him.
For, “as one writer says, where this vision is, there is perfect beauty; and where that beauty is, all pleasure and happiness flow from the same fountain. Neither can beauty, pleasure and happiness be separated from the vision or sight of him, nor that vision from beauty, pleasure and happiness.”
In this life we have only a glimpse of this beauty and happiness. Hereafter, as John says, we shall see him as he is. Your eyes, as Isaiah promises, 33:17, “shall behold the King in his glory.” Then we shall be perfectly in love, enjoy this beauty and happiness to the full, and desire, behold and love him alone as the most lovable and most beautiful object, the “supreme good,” or highest good.
Socrates
Reading The Anatomy of Melancholy · Its Object, God; What His Beauty Is; How It Attracts. the Parts and People…
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Socrates will begin with this book and its sources.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.
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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.
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- Principal historical witnessMcGill University Library — 1651 edition
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