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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 5 the Last and Best Cure for Love Melancholy Is to Let Lovers Have…

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Facing Pages · Branch 870 of 1495

Subsection 5 the Last and Best Cure for Love Melancholy Is to Let Lovers Have…

1651 English

575–unnumbered verso after 575

This we see too often verified in our common experience. Choresus dearly loved that Virgin Callyrrhoe, but the more he loved her, the more she hated him. Oenone loved Paris, but he rejected her; they are stiffe of all sides, as if beauty were therefore created to undo, or be undone.

I give her all attendance, all observance, I pray and intreat, Alma precor miserere mei, fair mistris pitty me, I spend my self, my time, friends and fortunes to win her favour, (as he complains in the Eglogue,) I lament, sigh, weep, and make my moan to her, but she is hard as flint,

—— cautibus Ismariis immotior ——

as fair and hard as a diamond, she will not respect, —— Despectus tibi sum, or hear me,

—— fugit illa vocantem Nil lachrymas miserata meas, nil flexa querelis.

What shall I do?

I wooed her as a young man should do, But Sir she said I love not you.Durior at scopulis mea Cælia, marmore, ferro, Robore, rupe, antro, cornu, adamante, gelu.Rock, Marble, heart of Oak with iron bar’d, Frost, flint or adamants are not so hard.

I give, I bribe, I send presents, but they are refused.

Rusticus est Coridon, nec munera curat Alexis.

I protest, I swear, I weep, —— odioq; rependit amores, Irrisit lachrymas —— she neglects me for all this, she derides me, contemns me, she hates me: Phillida flouts me: Caute, feris, quercu durior Euridice, stiffe, churlish, rocky still.

And tis most true, many Gentlewomen are so nice, they scorn all suiters, crucifie their poor Paramours, and think no body good enough for them, as dainty to please as Daphne her self,

Multi illam petiere, illa aspernata petentes, Nec quid Hymen, quid amor, quid sint connubia curat.Many did woo her, but she scorn’d them still, And said she would not marry by her will.

One while they will not marry, as they say at least, (when as they intend nothing less) another while not yet, when ’tis their only desire, they rave upon it. She will marry at last, but not him: he is a proper man indeed, and well qualified, but he wants means: another of her suiters hath good means, but he wants wit; one is too old, another too yong, too deformed, she likes not his carriage: a third too loosely given, he is rich, but base born:

she will be a Gentlewoman, a Lady, as her sister is, as her mother is: she is all out as fair, as well brought up, hath as good a portion, and she looks for as good a match, as Matilda or Dorinda: if not, she is resolved as yet to tarry, so apt are yong maids to bogle at every object, so soon woon or lost with every toy, so quickly diverted, so hard to be pleased.

575–unnumbered verso after 575

The Anatomy of Melancholy: Subsection 5 the Last and Best Cure for Love Melancholy Is to Let Lovers Have…

p. 870

We see this confirmed all too often in everyday experience. Choresus dearly loved the maiden Callyrrhoe, but the more he loved her, the more she hated him. Oenone loved Paris, but he rejected her. They are unyielding on every side, as if beauty had been created to ruin others or be ruined itself.

I wait on her, pay her every attention, beg and plead: “Gracious one, I pray you, pity me”; fair mistress, pity me. I spend myself, my time, my friends and my fortune to win her favour—as he complains in the eclogue. I lament, sigh, weep and pour out my grief to her, but she is hard as flint:

More unmoving than the rocks of Ismarus.

As beautiful and hard as a diamond, she will neither regard me—“You despise me”—nor hear me:

She flees from me as I call, Pitying none of my tears, unmoved by my complaints.

What shall I do?

I wooed her as a young man should, But “Sir,” she said, “I do not love you.”

But my Caelia is harder than crags, marble, iron, Oak, rock, cave, horn, adamant or ice.

Rock, marble, heart of oak barred with iron, Frost, flint or adamant are not so hard.

I give, I bribe, I send presents, but they are refused.

Corydon is a country bumpkin, and Alexis cares nothing for gifts.

I declare my love, I swear, I weep: “She repays love with hatred”; “She laughed at my tears.” Despite all this, she ignores me, mocks me, despises me, hates me. Phillida scoffs at me: “Eurydice, harder than rock, wild beasts or oak”—unyielding, harsh, stony still.

And it is quite true: many gentlewomen are so fastidious that they scorn all suitors, torment their poor lovers and think nobody good enough for them, as hard to please as Daphne herself:

Many sought her; she scorned those who sought her, And cared nothing for Hymen, love or marriage.

Many wooed her, but she always scorned them, And said she would not marry of her own will.

At one time they will not marry—so they say, at least, though that is the last thing they intend; at another, not yet, when it is their sole desire and they are mad for it. She will marry eventually, but not him: he is certainly a handsome, accomplished man, but he lacks means. Another suitor has ample means, but lacks sense. One is too old; another too young, too ugly; she dislikes his manner. A third is too dissolute; he is rich, but low-born.

She will be a gentlewoman, a lady, as her sister is, as her mother is. She is every bit as beautiful, as well brought up, has as good a marriage portion, and expects as good a match as Matilda or Dorinda. Otherwise, she is resolved to wait for the present. Young maidens are so ready to shy at every object, so easily won or lost by every trifle, so quickly turned aside, so hard to please.

870

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.