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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 MelancholySubsection 9. Anger as a Cause.

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1651 English Page · Branch 261 of 1495

Subsection 9. Anger as a Cause.

1651 English

104–104–105

Subsect. 9. Anger a Cause.

Anger, a perturbation, which carries the spirits outwards, preparing the body to melancholy, and madness it self: Ira furor brevis est, and as Piccolomineus accounts it, one of the three most violent passions. Areteus sets it down for an especial cause (so doth Seneca, ep. 18. l. 1.) of this malady. Magninus gives the reason, Ex frequenti ira supra modum calefiunt; it over-heats their bodies, and if it be too frequent, it breaks out into manifest madness, saith S. Ambrose.

’Tis a known saying, Furor fit læsa sæpius patientia, the most patient spirit that is, if he be often provoked, will be incensed to madness; it will make a devil of a Saint: And therefore Basil (belike) in his Homily de Irâ, cals it tenebras rationis, morbum animæ, & dæmonem pessimum; the darkning of our understanding, and a bad Angel.

Lucian in Abdicato, Tom. 1. will have this passion to work this effect, especially in old men and women, Anger and calumny (saith he) trouble them at first, and after a while break out into open madness: many things cause fury in women, especially if they love or hate overmuch, or envy, be much grieved or angry; these things by little and little lead them on to this malady. From a disposition they proceed to an habit, for there is no difference betwixt a mad man, and an angry man, in the time of his fit:

Anger, as Lactantius describes it, L. de Ira Dei, ad Donatum c. 5. is sæva animi tempestas, &c. a cruel tempest of the minde, making his eyes sparkle fire, and stare, teeth gnash in his head, his tongue stutter, his face pale, or red, and what more filthy imitation can be of a mad man?

Ora tument ira, fervescunt sanguine venæ, Lumina Gorgonio sævius angue micant.

They are void of reason, inexorable, blinde, like beasts & monsters for the time, say and do they know not what, curse, swear, rail, fight, and what not? How can a mad man do more? as he said in the Comedy, Iracundia non sum apud me, I am not mine own man. If these fits be immoderate, continue long, or be frequent, without doubt they provoke madness.

Montanus consil. 21. had a melancholy Jew to his patient, he ascribes this for a principal cause: Irascebatur levibus de causis, He was easily moved to anger. Ajax had no other beginning of his madness; and Charls the sixt, that Lunatick French King, fell into this misery, out of the extremity of his passion, desire of revenge and malice, incensed against the Duke of Britain, he could neither eat, drink, nor sleep for some days together, and in the end, about the Calends of Iuly, 1392. he became mad upon his horse-back, drawing his sword, striking such as came neer him promiscuously, and so continued all the days of his life, Æmil. lib. 10. Gal. hist.

104–104–105

The Anatomy of Melancholy: Subsection 9. Anger as a Cause.

p. 261

Subsection 9. Anger as a cause.

Anger is a disturbance that carries the spirits outwards, predisposing the body to melancholy and even to madness: “Anger is a brief madness.” Piccolomini counts it among the three most violent passions. Aretaeus names it as a particular cause of this illness, as does Seneca, letter 18, book 1. Magninus gives the reason: “Frequent anger heats them beyond measure”; it overheats their bodies, and, if too frequent, breaks out into manifest madness, says Saint Ambrose.

It is a familiar saying: “Patience too often injured turns to fury.” Even the most patient spirit, repeatedly provoked, will be driven mad with anger; it will make a devil of a saint. Presumably that is why Basil, in his homily On Anger, calls it “the darkness of reason, a disease of the soul, and a most evil demon”—the darkening of our understanding, and an evil angel.

Lucian, in The Disowned Son, volume 1, holds that this passion has that effect especially in old men and women. Anger and slander, he says, disturb them at first and after a while break out into open madness. Many things cause frenzy in women, especially excessive love or hatred, envy, deep grief or anger; these things gradually lead them into this illness. From a disposition they advance to a settled condition, for during his fit there is no difference between a madman and an angry man.

Anger, as Lactantius describes it in On the Anger of God, addressed to Donatus, chapter 5, is “a savage storm of the mind,” and so on—a cruel tempest of the mind, making a man’s eyes flash fire and stare, his teeth grind, his tongue stammer, his face turn pale or red. What uglier likeness of a madman could there be?

Faces swell with anger, veins boil with blood; Eyes flash more fiercely than a Gorgon’s snake.

For the time being they are without reason, unyielding and blind, like beasts and monsters. They say and do they know not what: curse, swear, abuse, fight—what do they not do? How could a madman do more? As the character says in the comedy, “Anger puts me beside myself”—I am not my own man. If these fits are excessive, prolonged or frequent, they undoubtedly bring on madness.

Montanus, in consultation 21, had a Jewish patient suffering from melancholy, and ascribes his illness principally to this cause: “He became angry over trifles”—he was easily moved to anger. Ajax’s madness had no other beginning. And Charles VI, that mentally deranged French king, fell into this condition through the extremity of his passion, his desire for revenge and his malice. Enraged against the Duke of Brittany, he could neither eat, drink nor sleep for several days together. Finally, about the first of July 1392, he went mad on horseback, drawing his sword and striking indiscriminately at anyone who came near him; and he continued so for the rest of his life. Aemilius, French History, book 10.

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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.

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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.