DiotimosReading Desk

Diotimos Library · Journals, Notebooks & Fragments Collection · Parallel Edition

Robert Burton

The Anatomy of Melancholy

1651 English with a close modern English rendering

Explore the Lexicon
The Anatomy of MelancholyMember 2. Subsection 2. Other Causes of Love Melancholy: Sight; Beauty of The…

Swipe or use the arrow keys.

Modern English Page · Branch 728 of 1495

Member 2. Subsection 2. Other Causes of Love Melancholy: Sight; Beauty of The…

1651 English

454–455

Imperio digna forma, Beauty deserves a Kingdome, saith Abulensis, paradox. 2. cap. 110. immortality; and more have got this honour and eternity for their beauty, then for all other vertues besides: and such as are fair, are worthy to be honoured of God and men. That Idalian Ganymedes was therefore fetched by Jupiter into Heaven, Hephestion dear to Alexander, Antinous to Adrian.

Plato calls beauty for that cause a priviledge of Nature, Naturæ gaudentis opus, natures master-piece, a dumb comment; Theophrastus, a silent fraud; still rhetorick Carneades, that perswades without speech, a kingdome without a guard, because beautiful persons command as so many Captains; Socrates, a tyranny, which tyrannizeth over tyrants themselves; which made Diogenes belike call proper women Queens, quod facerent homines quæ præciperent, because men were so obedient to their commands.

They will adore, cringe, complement and bow to a common wench (if she be fair) as if she were a noble woman, a Countess, a Queen or a goddess. Those intemperate yong men of Greece, erected at Delphos a golden image with infinite cost, to the eternal memory of Phryne the curtizan, as Ælian relates, for she was a most beautiful woman, in so much saith Atheneus, that Apelles and Praxitiles drew Venus picture from her.

Thus young men will adore and honour beauty; Nay Kings themselves I say will do it, and voluntarily submit their soveraignty to a lovely woman. Wine is strong, Kings are strong, but a woman strongest, 1 Esd. 4. 10. as Zerobabel proved at large to King Darius, his Princes and Noblemen.

Kings sit still and command Sea and Land, &c. all pay tribute to the King; but women make Kings pay tribute, and have dominion over them. When they have got gold and silver, they submit all to a beautiful woman, give themselves wholly to her, gape and gaze on her, and all men desire her more then gold or silver, or any pretious thing: they will leave father and mother, and venture their lives for her, labour and travel to get, and bring all their gains to women, steal, fight and spoil for their Mistress sakes. And no King so strong, but a fair woman is stronger then he is.

All things (as he proceeds) fear to touch the King; yet I saw him and Apame his concubine, the daughter of the famous Bartacus sitting on the right hand of the King, and she took the crown off his head, and put it on her own, and stroke him with her left hand; yet the King gaped and gazed on her, and when she laughed he laughed, and when she was angry he flattered to be reconciled to her.

So beauty commands even Kings themselves; nay whole armies and kingdomes are captivated together with their Kings: Forma vincit armatos, ferrum pulchritudo captivat; vincentur specie, qui non vincentur prælio.

And ’tis a great matter saith Xenophon, and of which all fair persons may worthily brag, that a strong man must labour for his living if he will have ought, a valiant man must fight and endanger himself for it, a wise man speak, shew himself and toil; but a fair and beautiful person doth all with ease, he compasseth his desire without any pains taking:

454–455

The Anatomy of Melancholy: Member 2. Subsection 2. Other Causes of Love Melancholy: Sight; Beauty of The…

p. 728

“Beauty worthy of command”: beauty deserves a kingdom, says Abulensis, Paradox 2, chapter 110—and immortality. “More people have gained this honour and eternal life for their beauty than for all other virtues together”; and those who are beautiful “deserve to be honoured by God and men.” For this reason Jupiter carried that Idalian Ganymede into heaven; Hephaestion was dear to Alexander, and Antinous to Hadrian.

For that reason Plato calls beauty a privilege of nature, “the work of nature rejoicing,” nature’s masterpiece, a wordless commentary; Theophrastus, a silent fraud; Carneades, silent rhetoric that persuades without speech, a kingdom without a guard, because beautiful people command like so many captains; Socrates, a tyranny “that tyrannizes over tyrants themselves.” This presumably made Diogenes call handsome women queens, “because men did whatever they ordered”: men were so obedient to their commands.

They will worship, cringe, pay compliments and bow to a common girl, if she is beautiful, as though she were a noblewoman, a countess, a queen or a goddess. Those unrestrained young men of Greece erected a golden statue at Delphi, at immense expense, to preserve the memory of Phryne the courtesan for ever, as Aelian relates. She was so beautiful, Athenaeus says, that Apelles and Praxiteles made their likenesses of Venus from her.

Thus young men worship and honour beauty. Indeed, kings themselves will do it, I say, and willingly submit their sovereignty to a lovely woman. “Wine is strong, kings are strong, but a woman is strongest,” 1 Esdras 4:10, as Zerubbabel proved at length to King Darius, his princes and nobles.

Kings sit at ease and command sea and land, and so forth; everyone pays tribute to the king. But women make kings pay tribute and rule over them. When men have acquired gold and silver, they surrender it all to a beautiful woman, give themselves wholly to her, and gape and gaze at her. All men desire her more than gold, silver or any precious thing. They will leave father and mother and risk their lives for her; labour and travel to earn money and bring all their gains to women; steal, fight and plunder for their mistresses’ sake. No king is so strong that a beautiful woman is not stronger than he.

“Everyone,” he continues, “is afraid to touch the king; yet I saw him with Apame his concubine, the daughter of the famous Bartacus, sitting at the king’s right hand. She took the crown from his head, put it on her own and struck him with her left hand. Yet the king gaped and gazed at her; when she laughed, he laughed; and when she was angry, he flattered her to regain her favour.”

So beauty commands even kings themselves; indeed, whole armies and kingdoms are taken captive along with their kings. “Beauty conquers armed men; beauty takes the sword captive. Those who cannot be conquered in battle will be conquered by looks.”

And it is no small thing, says Xenophon, “and something of which all beautiful people may rightly boast, that a strong man must labour for his living if he is to have anything, a brave man must fight and risk his life for it, and a wise man must speak, display his abilities and toil; but a handsome and beautiful person does it all with ease and obtains what he desires without taking any trouble.”

728

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.