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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 MelancholyPersistence and Opportunity of Time and Place; Meetings, Conversation…

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Modern English Page · Branch 775 of 1495

Persistence and Opportunity of Time and Place; Meetings, Conversation…

1651 English

496–497

If promises, lies, oathes, and protestations will not avail, they fall to bribes, tokens, gifts, and such like feates. Plurimus auro conciliatur amor: as Jupiter corrupted Danae with a golden shower, and Liber Ariadne with a lovely Crown, (which was afterwards translated into the heavens, and there for ever shines;) they will rain Chickins, Florens, Crowns, Angels, all maner of coines and stamps in her lap.

And so must he certainly do that will speed, make many feasts, banquets, invitations, send her some present or other every foot. Summo studio parentur epulæ (saith Hædus) & crebræ fiant largitiones, he must be very bountiful and liberal, seek and sue, not to her onely, but to all her followers, friends, familiars, fidlers, panders, parasites, and houshold servants; he must insinuate himself, and surely will, to all, of all sorts, messengers, porters, carriers; no man must be unrewarded, or unrespected.

I had a suiter (saith Aretine’s Lucretia) that when he came to my house, flung gold and silver about, as if it had bin chaff. Another suiter I had was a very cholerick fellow; but I so handled him, that for all his fuming, I brought him upon his knees: If there had been an excellent bit in the market, any novelty, fish, fruit, or fowl, muskadel, or malmesey, or a cup of neat wine in all the city, it was presented presently to me, though never so dear, hard to come by, yet I had it: the poor fellow was so fond at last, that I think if I would I might have had one of his eyes out of his head.

A third suiter was a Merchant of Rome, and his manner of woing was with exquisite musick, costly banquets, poems, &c. I held him off till at length he protested, promised, and swore pro virginitate regno me donaturum, I should have all he had, house, goods and lands, pro concubitu solo: Neither was there ever any Conjurer I think, to charm his spirits that used such attention, or mighty words, as he did exquisite phrases; or General of any army, so many stratagems to win a city, as he did tricks and devices to get the love of me.

Thus men are active and passive, and women not far behind them in this kinde: Audax ad omnia fæmina, quæ vel amat, vel odit.

For half so boldly there can non, Swear and lye as women can.

They will crack, counterfeit and collogue as well as the best, with handkerchiefs, and wrought nightcaps, purses, poses, and such toyes: as he justly complained,

Cur mittis violas? nempe ut violentius urer; Quid violas violis me violenta tuis? &c.Why dost thou send me Violets my dear? To make me burn more violent I fear; With Violets too violent thou art, To violate and wound my gentle heart.

When nothing else will serve, the last refuge is their tears. Hæc scripsi (testor amorem) mixta lachrymis & suspiriis, ’twixt tears and sighs, I write this (I take love to witness) saith Chelidonia to Philonius. Lumina quæ modò fulmina, jam flumina lachrymarum, those burning torches are now turn’d to floods of tears.

496–497

The Anatomy of Melancholy: Persistence and Opportunity of Time and Place; Meetings, Conversation…

p. 775

If promises, lies, oaths and protestations do not work, they turn to bribes, tokens, gifts and similar devices. “Much love is won by gold.” As Jupiter seduced Danae with a shower of gold, and Liber won Ariadne with a beautiful crown—which was afterwards raised into the heavens, where it shines for ever—so they will shower sequins, florins, crowns, angels, coins of every kind and stamp, into her lap.

And this, certainly, is what a man must do if he means to succeed: give many feasts and banquets, issue invitations, send her some present or other at every turn. “Let feasts be prepared with the greatest care,” says Haedus, “and gifts be frequent.” He must be most generous and liberal, paying court not only to her but to all her attendants, friends, intimates, fiddlers, panders, hangers-on and household servants. He must ingratiate himself—and certainly will—with everyone of every sort: messengers, porters and carriers. Nobody must go unrewarded or unacknowledged.

“I had a suitor,” says Aretino’s Lucretia, “who used to fling gold and silver about my house as if it were chaff. Another suitor of mine was a very hot-tempered fellow; but I managed him so well that, for all his blustering, I brought him to his knees. If there was a fine morsel in the market, any novelty, fish, fruit or fowl, muscatel or malmsey, or a cup of unmixed wine anywhere in the city, it was brought to me at once. However expensive or difficult to obtain, I had it. In the end the poor fellow was so infatuated that I believe I could have had one of his eyes out of his head if I had wanted it.”

“A third suitor was a Roman merchant, who courted me with exquisite music, costly banquets, poems and so on. I held him off until at last he protested, promised and swore ‘that he would give me a kingdom for my virginity’: I should have everything he owned, house, goods and lands, ‘merely for sleeping with him.’ No conjurer, I think, ever used such concentration or powerful words to charm his spirits as this man used exquisite phrases; nor did any general employ as many stratagems to capture a city as he used tricks and devices to win my love.”

Thus men both act upon others and are acted upon; and women are not far behind them in this respect: “A woman who loves or hates will dare anything.”

For no man can swear and lie Half as boldly as women can.

They will boast, counterfeit and flatter as well as anyone, with handkerchiefs, embroidered nightcaps, purses, posies and such trinkets, as the poet justly complained:

Why send me violets? Surely to make me burn more violently; Why, violent woman, do you violate me with your violets? And so on.

Why send me violets, my dear? To make me burn more fiercely, I fear; With violets you are too violent, Violating and wounding my tender heart.

When nothing else will do, their last resort is tears. “I wrote these words mingled with tears and sighs—I call Love to witness”: “Amid tears and sighs I write this, taking Love as my witness,” says Chelidonia to Philonius. “Eyes that just now were lightning bolts are now rivers of tears”: those blazing torches have now turned into floods of tears.

775

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.