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Robert Burton

The Anatomy of Melancholy

1651 English with a close modern English rendering

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1651 English Page · Branch 1035 of 1495

Causes of Despair: The Devil, Melancholy, Meditation, Distrust, Weakness Of…

1651 English

699–700

This scrupulous conscience (as Peter Forestus calls it) which tortures so many, that either out of a deep apprehension of their unworthiness, and consideration of their own dissolute life, accuse themselves and aggravate every small offence, when there is no such cause, misdoubting in the mean time Gods mercies, they fall into these inconveniences.

The Poets call them Furies, Diræ, but it is the conscience alone which is a thousand witnesses to accuse us,

Nocte dieq; suum gestant in pectore testem.

A continual testor to give in evidence; to empanel a Jury to examine us, to cry guilty, a persecutor with hue and cry to follow, an apparitor to summon us, a bayliffe to carry us, a Serjeant to arrest, an Attourney to plead against us, a gaolour to torment, a Judge to condemn, still accusing, denouncing, torturing and molesting.

And as the statue of Juno in that holy city neer Euphrates in Assyria will look still towards you, sit where you will in her temple, she stares full upon you, if you go by, she follows with her eye, in all sites, places, conventicles, actions, our conscience will be still ready to accuse us.

After many pleasant daies, and fortunate adventures, merry tides; this conscience at last doth arrest us. Well he may escape temporal punishment, bribe a corrupt judge, and avoid the censure of law, and flourish for a time;

for who ever saw (saith Chrysostome) a covetous man troubled in minde when he is telling of his money, an adulterer mourn with his mistris in his arms? we are then drunk with pleasure, and perceive nothing:

yet as the prodigal Son had dainty fare, sweet musick at first, merry company, jovial entertainment, but a cruel reckoning in the end, as bitter as wormwood, a fearful visitation commonly follows. And the divel that then told thee that it was a light sin, or no sin at all, now aggravates on the other side, and telleth thee, that it is a most irremissible offence, as he did by Cain and Judas, to bring them to despaire;

every small circumstance before neglected and contemned, will now amplifie it self, rise up in judgement and accuse, the dust of their shooes, dumb creatures, as to Lucians tyrant, lectus & candela the bed and candle did bear witness, to torment their souls for their sins past.

Tragical examples in this kinde are too familiar and common: Adrian, Galba, Nero, Otho, Vitellius, Caracalla, were in such horror of conscience for their offences committed, murders, rapes, extortions, injuries, that they were weary of their lives, and could get no body to kill them.

699–700

The Anatomy of Melancholy: Causes of Despair: The Devil, Melancholy, Meditation, Distrust, Weakness Of…

p. 1035

this scrupulous conscience, as Pieter van Foreest calls it, which tortures so many. From a deep sense of their unworthiness or reflection on their own dissolute lives, they accuse themselves and magnify every small offence, even when there is no such cause. Meanwhile doubting God’s mercy, they fall into these troubles.

The poets call them Furies, the Dread Ones; but it is conscience alone that supplies a thousand witnesses against us,

Night and day they carry their own witness in their breast.

It is an unceasing witness giving evidence, empanelling a jury to examine us and pronounce us guilty; a pursuer following with hue and cry, a court officer summoning us, a bailiff carrying us off, a sergeant arresting us, a lawyer pleading against us, a jailer tormenting us and a judge condemning us—continually accusing, denouncing, torturing and harassing.

And just as the statue of Juno in that sacred city near the Euphrates in Assyria always looks towards you—sit wherever you like in her temple, she stares directly at you; pass by, and her gaze follows—so in every position, place, gathering and action, our conscience will always be ready to accuse us.

After many pleasant days, fortunate ventures and merry seasons, conscience finally arrests us. A person may indeed escape punishment in this world, bribe a corrupt judge, evade the sentence of the law and flourish for a time;

for who ever saw, says Chrysostom, a greedy man troubled in mind while counting his money, or an adulterer grieving with his mistress in his arms? At such times we are drunk with pleasure and notice nothing:

yet, as the prodigal son at first had fine food, sweet music, merry company and jovial entertainment, but a cruel reckoning in the end, bitter as wormwood, a dreadful visitation commonly follows. The devil who then told you that it was a slight sin, or no sin at all, now magnifies it in the opposite direction and tells you it is an utterly unforgivable offence, as he did with Cain and Judas, to bring them to despair;

every small circumstance previously overlooked and despised will now magnify itself, rise in judgement and accuse them—the dust of their shoes, creatures without speech. As with Lucian’s tyrant, the bed and the candle, the bed and candle bore witness, tormenting their souls for their past sins.

Tragic examples of this kind are all too familiar and common. Hadrian, Galba, Nero, Otho, Vitellius and Caracalla were so horrified in conscience by their crimes—murders, rapes, extortion and wrongs—that they grew weary of life and could find no one to kill them.

1035

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.