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

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

1651 English

465–466

which are Loves Fowlers; aucupium amoris, the shooing hornes, the hooks of Love (as Arandus will) the guides, touchstone, Judges, that in a moment cure mad men, and make sound folks mad, the watchmen of the body; what do they not? How vex they not? All this is true, and (which Athenæus lib. 13. dip. cap. 5. and Tatius hold) they are the chief seats of Love, and as James Lernutius hath faceteely expressed in an elegant Ode of his,

Amorem ocellis flammeolis heræ Vidi insidentem, credite posteri, Fratresque circum ludibundos Cum pharetra volitare & arcu, &c.I saw Love sitting in my Mistris eyes Sparkling, believe it all posterity, And his attendants playing round about With bow and arrows ready for to fly.

Scaliger calls the eyes, Cupids arrows; the tongue, the lightning of Love; the paps, the tents: Balthasar Castilio, the causes, the chariots, the lamps of Love,

——æmula lumina stellis, Lumina quæ possent sollicitare Deos.Eys emulating stars in light, Entizing gods at the first sight;

Loves Orators, Petronius.

O blandos oculos, & o facetos, Et quâdam propriâ notâ loquaces Illic est Venus, & leves amores, Atque ipsa in medio sedet voluptas.O sweet and pretty speaking eys, Where Venus love and pleasure lies!

Loves Torches, Touch-box, Napthe and Matches, Tibullus.

Illius ex oculis quum vult exurere divos, Accendit geminas lampades acer amor.Tart love when he will set the gods on fire, Lightens the eys as Torches to desire.

Leander at the first sight of Hero’s eys, was incensed, saith Musæus.

Simul in oculorum radiis crescebat fax amorum, Et cor fervebat invecti ignis impetu; Pulchritudo enim celebris immaculatæ fæminæ, Acutior hominibus est veloci sagittâ. Oculus verò via est, ab oculi ictibus Vulnus dilabitur, & in præcordia viri manat.Loves torches gan to burn first in her eyes, And set his heart on fire, which never dies: For the fair beauty of a Virgin pure, Is sharper then a dart, and doth inure A deeper wound, which pierceth to the heart By the eyes, and causeth such a cruel smart.

A modern Poet brings in Amnon complaining of Thamar,

——& me fascino Occidit ille risus & formæ lepos, Ille nitor, illa gratia, & verus decor, Illæ æmulantes purpuram, & rosas genæ, Oculique vinctæque aureo nodo comæ.——It was thy beauty, ’twas thy pleasing smile, Thy grace and comeliness did me beguil, Thy rose-like cheeks, and unto purple fair Thy lovely eyes and golden knotted hair.
465–466

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

p. 739

They are Love’s bird-catchers, “love’s bird-snare,” its shoehorns, its hooks, as Arandus has it: the guides, touchstone and judges that in a moment cure madmen and drive sane people mad, the body’s watchmen. What do they not do? In what way do they not torment us? All this is true; and, as Athenaeus holds in his Deipnosophists, book 13, chapter 5, and Tatius too, they are the chief seats of love. James Lernutius wittily expresses it in an elegant ode:

I saw Love in my mistress’s fiery eyes, Seated there—believe me, generations to come— And his brothers sporting all around, Fluttering with quiver and bow, and so on.

I saw Love sitting in my mistress’s sparkling eyes— Believe it, all posterity— And his attendants playing all around, With bow and arrows ready to fly.

Scaliger calls the eyes Cupid’s arrows, the tongue Love’s lightning, and the breasts Love’s tents; Baldassare Castiglione calls the eyes love’s causes, chariots and lamps.

——eyes that rival the stars, Eyes that could stir even the gods.

Eyes that rival stars in light, Enticing gods at the first sight;

Love’s orators, says Petronius:

Oh, those alluring eyes, oh, those charming eyes, Speaking in a language of their own! There are Venus and playful Loves, And in their midst sits Pleasure herself.

Oh, sweet and pretty speaking eyes, Where Venus, love and pleasure dwell!

Love’s torches, powder-box, naphtha and matches, says Tibullus:

When fierce Love wishes to set the gods ablaze, He lights twin torches from her eyes.

Fierce Love, when he wishes to set the gods on fire, Lights eyes like torches to kindle desire.

Leander was set on fire at his first sight of Hero’s eyes, says Musaeus:

At once in the rays of her eyes love’s torch grew brighter, And his heart seethed under the force of the invading fire; For the renowned beauty of a pure maiden Is sharper for men than a swift arrow. The eye is its path: from the eye’s blows The wound spreads and flows into a man’s heart.

Love’s torches first began to burn in her eyes And set his heart on fire, a fire that never dies; For the lovely beauty of a pure maiden Is sharper than a dart, and inflicts A deeper wound, piercing through the eyes To the heart, and causing such cruel pain.

A modern poet presents Amnon lamenting over Tamar:

——and with their spell they kill me: That smile and charm of form, That radiance, that grace and true beauty, Those cheeks that rival purple and roses, Those eyes, and hair tied in a golden knot.——

It was your beauty, your pleasing smile, Your grace and loveliness that bewitched me; Your rose-like cheeks, beautiful as purple, Your lovely eyes and golden, knotted hair.

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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.