Sorrow

Use in the book

The reflection on loss calls proportionate sensitivity evidence of judgment and moderation of sorrow after irreparable loss evidence of reason. Moderation does not cancel the worth of what was lost. The note on imagination says joy is its natural element and that carrying it into sorrows makes everything ugly and makes imagination itself ugly. A separate record attaches “a day of great sorrow” to a conversation with Fontanes without explaining its cause. A lexicon must not turn that private circumstance into an invented biographical episode.

Places to read

1. I, p. 59, entry 1, ¶1Measured response to loss displays judgment and reason.
2. II, p. 632, entry 5, ¶1Imagination is said to be displaced within grief.
3. II, p. 922, entry 2, ¶1A recorded day of grief remains unexplained.

Translation in this edition

The English translation uses sorrow or sorrows in the selected passages and preserves the dated circumstance inside the last paragraph. The claim about imagination remains a particular aphoristic prohibition, not a diagnosis.

Use in the book

The young narrator grieves that the world seems empty, but this dissatisfaction keeps inquiry alive when no fashionable pleasure has wholly deluded him. In the childhood poem, God is figured as grieved because his offered joy is coldly rejected. Later, grief at sin accompanies the discovery of mercy and can coexist with renewed joy. The sequence prevents a simple opposition between felicity and all sorrow. Some grief exposes false valuation; some belongs to the truthful repair of a damaged relation.

Places to read

1. III.15Grief at an apparently empty world prompts further inquiry into happiness.
2. III.4The poem presents divine love as repeatedly sent away grieved by cold acceptance.
3. III.48Sorrow over sin and humble repentance lead into the joy of mercy.

In this edition

The heading gathers the attested verb rather than a frequent abstract noun. It should not be read as a specialised discussion of bereavement, which these passages do not provide.

Use in the book

Burton’s own sorrow belongs to the work’s manner of looking at the world. He alternates satire, laughter, anger and lament “with Heraclitus” at abuses he cannot remedy. Writing consoles one sorrow with another, while painful experience supplies fellow-feeling and a wish to help others. The religious polemic returns to this double perspective: alleged folly invites laughter, but torment, bloodshed and massacres call for sympathetic grief. His hostile judgements of particular religious traditions remain his; the grief registers the human suffering within that polemic.

Sorrow acts upon both soul and body: it contracts the heart, torments the soul, undermines the body’s well-being and obstructs its operations. Burton says that it produces melancholy and sometimes death. His later account supplies the historical physiology: impaired digestion, diminished appetite and sleep, chilled heart, thickened blood and contaminated spirits. Melanchthon’s explanation makes melancholy blood gather at the heart and extinguish, “or at least” dull, the good spirits. Its marginal Latin describes wind beneath the ribs where Burton’s English gives convulsions; the two formulations should not be silently combined. These are historical causal claims, not modern medical findings.

Sorrow is both melancholy’s “mother and daughter”: cause and symptom generate each other and “tread in a ring.” The marginal account specifies prolonged fear and sadness; Burton’s body makes the circular relationship particularly vivid. His “sole cause” means a cause sufficient by itself in the cited account, not the only possible cause of melancholy. Rooted sorrow is said to end in despair, but later he explicitly denies that melancholy and despair always occur together. Similarly, sorrow’s designation as an “inseparable companion” is qualified elsewhere: most melancholy cases have fear and sorrow, but some have only one and some neither.

Grief also helps Burton organize the passions. He anticipates an objection to putting cares and discontents in the irascible group, then defends their place because Aristotle defines envy, ambition and related affections through grief. The margin’s dolor names that common element. The ensuing account broadens from individual disorders to insecurity throughout human life, with personified Care claiming a person for as long as he lives. These are linked classifications and images, rather than a single diagnosis.

Ordinary sorrow is wider than established illness. In the opening distinction between disposition and habit, passing melancholy accompanies grief, loss, trouble or displeasure, and no living person escapes it. Burton calls this melancholy in an equivocal, improper sense. People respond differently to similar occasions, however: what one scarcely feels another cannot endure. Later, extended dwelling upon lost friends or possessions is said to turn repeated dispositions into a settled condition. The marginal Platter formulation says “always,” where the body makes no equivalent universal claim.

The alleged causes extend beyond a person’s present thoughts. Cardan’s parental-influence theory makes sad children arise from sad parents; Burton’s continuation attributes effects to maternal grief, fright and imagination during pregnancy. Weather and darkness are also said to make people sad, with individual susceptibility emphasized. In the weather passage, “Aquarius saddens the chilly year” personifies the season; it is distinct from the surrounding claims about air, bodily spirits and demons. The inherited-disposition and environmental explanations remain historical theories.

Burton repeatedly makes grief visible through images: a gnawing worm, perpetual executioner, invisible fever, battle without end, Prometheus’s eagle and Rome’s dictator, before whom other magistrates yield. Drayton’s Eleanor describes sorrow erasing her beauty; this is a literary speaker’s lament. Hecuba and Niobe figure grief’s capacity to leave people stunned or insensible. The nearby Plautus margin makes wasting through grief sound medical, but its speaker, Ergasilus, is also lamenting his lost meals in a comedy. Such examples illuminate different experiences and rhetorical purposes. They are not a uniform collection of clinical observations. Elsewhere Sorrow appears as the hair-tearing woman in Cebes’ picture, identified by marginal ærumna, and is reportedly worshipped under the name Angerona. Burton’s account of her festival includes a date questioned by the supplied editor.

In Lucian’s picture of Wealth, which Burton redirects towards extravagant living, Sorrow and Grief become attendants of the ruined, abandoned spendthrift. The image leads into his warning about pleasures used unseasonably or beyond one’s means. Burton’s accompanying prodigal-son comparison rearranges the scriptural story; the earlier feast and final reckoning belong to his retelling.

An image can also confess the limits of representation. Timanthes veils Agamemnon’s face after exhausting the visible degrees of mourning in his picture of Iphigenia: the spectator must imagine the father’s greater grief. Burton adopts that device for despair, saying his catalogue of fears, sorrows and torments still falls short. The superlatives belong to this rhetorical account of extreme suffering, not a measured scale.

The symptom account combines persistence with fluctuation. Sufferers may laugh and then become downcast, while unwelcome thoughts cling more firmly than pleasures. Remembered injuries return as if newly inflicted; concern extends to private, other people’s and public affairs, including feared future events. Thus the introductory present-evil classification does not exhaust every later use. Terence’s Menedemus returns home sorrowful despite his servants’ efforts: he has lost his son through estrangement and absence, not death. Some become weary of life, yet recover pleasure in welcome company until a fresh disturbance renews their distress. Burton’s subsequent causal discussion insists that an inward cause can make suffering real without an adequate outward occasion, and that commands alone cannot remove it. The later solitude passage depicts Bellerophon grieving in shadowy woods and a margin makes grief feed upon darkness. Burton closes by saying these symptoms vary in intensity and may be barely perceptible or absent.

The prognosis carries this suffering toward a desire for death. Sorrow is one of the passions that tear the sufferers apart like wild horses, and Burton explains their search for relief as what they hope will help, not as an established benefit. His account qualifies compulsion as “in a manner.” At the partition’s close he opposes the act while mitigating punitive judgement where reason is lost, and refuses to determine a person’s final fate.

Loss likewise has several forms. Burton moves from the sadness after a feast, through temporary separation and prolonged absence, to bereavement. The Aegeus story concerns a son mistakenly believed dead; the death of a friend is not established merely by the mourner’s conviction. Physicians’ reported cases include recovery followed much later by relapse after another bereavement. Lost money, office, reputation, labour and frustrated hopes can also grieve; public mourning spreads through cities and kingdoms after deaths or defeat. His claims about rulers and foreign funerary customs remain attributed reports. Repeated thoughts of the departed may even make people think they see them; Burton treats such imagined presence within the discussion of grief and imagination. Public mourning for Prince Henry is interwoven with a grieving forest and Virgil’s animals, so the literary extension of grief accompanies the historical reports.

The animal examples go beyond pastoral personification. In Busbecq’s account as transmitted by Burton, a lynx is sad when its keeper is absent and joyful at his return, then wastes away after separation. Stories of a peacock, dolphins and a crane likewise connect attachment, bereavement and death. These are attributed narratives whose causal interpretation Burton accepts or develops; they are not independently verified observations here.

The ethical character of sorrow depends on its object. Envy is sorrow at another person’s good, whether past, present or future; compassion grieves at another’s misfortune. The Agrippa margin calls compassion a kind of sorrow while also claiming bodily harm from it. Sorrow is prominent in love’s mixed passions. A sorrowful appearance need not establish actual sorrow: Burton’s polemical account of deceptive wooing alleges manufactured tears and expressions. Conversely, he distinguishes physiological explanations of tears from emotional grief and pity. Regret is another use: Herod is “sorry and repented” for what he has done, but rage returns immediately. The narrative therefore distinguishes momentary remorse from lasting reform.

Consolation is similarly varied. He urges disclosure to a trusted friend, using Ovid’s image of grief choking when shut within. Claims of immediate relief coexist with qualifications about deeply rooted imaginings, and reported relapses elsewhere. Instructions to avoid companions who continually lament stand beside the injunction to pity sufferers and the Latin call to grieve at their misery. Music may produce a “pleasing melancholy” that relieves sorrow, yet may intensify an amorous fixation.

Good words require judgement and timing. The interpretation of Homer’s nepenthe as well-timed speech makes consolation a remedy only when wisely administered. At the entrance to his consolation section Burton also admits that some grief defeats familiar precepts: Pliny says that everything he has heard and read is overwhelmed by sorrow, while Burton’s added English gloss asks for something new or silence. In the love discussion, freshly bereaved parents illustrate why immediate counsel can be useless; passion must first run its course for a while, and later advice still requires a receptive hearer.

Other consolations appeal to shared mortality, companions in suffering and time. “Time lessens grief” becomes a broad claim that habit and forgetting wear it away; the sufferer replies that his own misery exceeds everyone else’s. These confident consolatory maxims should be read beside Burton’s earlier records of persistent grief and relapse. His later image of one sorrow displacing another explains how fresh news eclipses a public disgrace, within a reply that also calls the offender to repentance and amendment.

Sharing sorrow can be a form of friendship within marriage: the good wife is a partner in joys and sorrows. In the treatment of jealousy Burton urges bystanders not to “add grief to grief” through ridicule or harshness. Yet elsewhere Gordonius’s proposed counterpassion deliberately replaces a lesser sorrow with a greater through fabricated news; the abbot’s staged accusation must itself stop short of overwhelming grief. These different uses of increased sorrow remain visible within the historical treatment arguments.

Sorrow is also the named target of bodily remedies. The medicinal catalogue conjecturally identifies Homer’s grief-banishing nepenthe with borage or bugloss, unlike the speech interpretation; the wine discussion proposes another identification. Scorzonera is said to expel sorrow, while precious stones receive similar claims that other writers explicitly reject. Burton presents conflicting authorities, conditional assertions and literary identifications; neither the catalogue nor its modern rendering independently establishes efficacy.

The wine argument is especially qualified. It begins with moderate and timely use, lets an imagined reader infer unrestricted merriment, and answers that inference with limits. Excess is said to produce a sorrowful heart: the vine causes both mirth and grief. The ending distinguishes constitutions considered hot from cold melancholy and says sober use “may” help the latter. In the following drug discussion, “all sense of grief” is bodily pain, while the attributed account of bhang concerns a temporary altered state. These are historical claims, not treatment instructions.

Burton does not offer one consistent prohibition of grief. Job’s friends sit silently beside him; a mother’s tears are natural, and insensibility would abolish pity. Ovid’s lines on tears relieving separation are carried into consolation for bereavement. Burton then seeks a middle course, asks for a just reason and moderation, and approves limits on mourning observances. A later passage expressly sides with Seneca’s stricter claim that the wise should be without sorrow. Both the allowance and the demand belong to this consolatory argument. Earlier, however, Burton defends Epicurus’s highest pleasure as freedom from pain and care rather than eating and drinking. The preface, meanwhile, quotes the scriptural claim that increasing wisdom increases sorrow. Different philosophical and religious arguments thus give wisdom and grief different relations.

Religious meanings also differ. At the beginning of the first partition sorrow may be punishment, correction or a trial of patience, and Burton expressly allows that adversity “may be for his good.” In his anti-idolatry polemic, ritual mourning becomes the object of the Minucius-attributed question whether one should mourn what one worships. In love’s literary afterlife, by contrast, the Fields of Mourning shelter sufferers whose cares continue after death; Burton loosely calls those Virgilian fields Elysian. None of these settings is reducible to the introductory definition of a present emotion.

Religious sorrow can be valued rather than condemned. Against worldly sorrow’s deadly force, Burton’s concluding consolation makes mourning compatible with promised comfort. The despairing objection that one cannot feel sorrow for sin is the sufferer’s complaint, not Burton’s verdict. He asks whether the person can grieve at not grieving: distress over that absence can signify a desire to repent. His claim that desire is repentance preserves the qualification “though not in nature, yet in Gods acceptance”; effective mercy remains God’s agency. The later assurance extends to those who are penitent and sorry, or desire to be so, while retaining the condition that they do not finally reject mercy.

Related entries

Fear; Passion; Heart and cordolium; Tædium vitae; Despair; Macerate; Painful; Melancholy; Envy; Pity; Friendship; Consolation; Music; Repentance; Religious melancholy; Care; Air; Imagination; Wine; Ecstasy

Places to read

1. · paragraph 7–12authorial lament, mixed responses, writing and fellow-feeling
2. · paragraph 16resentment, wisdom accompanied by grief, and earnest seriousness
3. · paragraph 1–3public grievances and the bleak land described by tristis
4. · paragraph 13–22sorrow as chastisement or correction; grievances as bodily ailments
5. · paragraph 2–9temporary disposition, present evil, bodily effects and exceptions
6. · paragraph 10–19alleged parental transmission of sad dispositions and maternal impressions
7. · paragraph 8–14weather, darkness, personified year and historical causal explanations
8. Repeated [scans 198–199] and suppliedcircular causation, metaphor, attributed physiology, comic and scriptural voices, fear and sorrow as kin and Harpies, Angerona, and the following effects of fear
9. · paragraph 4–8envy, compassion, remorse, grief as a classificatory term and universal affliction
10. [the latter printed 122]Sorrow personified in Cebes’ picture and images of anguish
11. · paragraph 24–27Sorrow and Grief as attendants of the ruined spendthrift in Burton’s adaptation of Lucian’s Wealth picture
12. · paragraph 1–45separation, imagined presence, bereavement, relapse, possessions, public and pastoral mourning; heaviness as a cause of grief
13. [first occurrence of 190]exceptions, memory, Menedemus, changing responses to company, solitude and variable symptoms
14. · paragraph 11–18bodily pain, inward causes and theories of tears
15. [the latter misnumbered; sequence ]sorrow in severe prognosis, hoped-for relief, qualified compulsion and mitigation of judgement
16. [sequence printed 292], 301Epicurean freedom from pain, disclosure, companionship, timely speech as nepenthe, pity, counterpassions and qualified musical relief
17. · paragraph 38–45limits of consolation, common affliction, time, the sufferer’s objection and sorrow as childbirth pain
18. · paragraph 31–43natural tears, moderation, funeral observances and the stricter ideal of freedom from sorrow
19. · paragraph 27–41one sorrow displacing another, fading public notice and the call to amendment
20. · paragraph 8–14herbal nepenthe, expelling sorrow, disputed powers of precious stones and attributed testimony
21. · paragraph 19–46wine’s alleged relief and reversal into harm, stated restrictions, grief as pain and altered states
22. · paragraph 33the Petronian speaker’s affected solemnity
23. · paragraph 44–49attributed animal attachment, sadness, separation and death
24. · paragraph 35–44bitter tristis, alleged feigned sorrow, love’s mixed passions and grieve meaning mind or feel reluctance
25. · paragraph 69–73Fields of Mourning, induced greater sorrow, its danger and the timing of counsel
26. · paragraph 55–65shared sorrows in marriage and the injunction not to add grief to grief
27. [659 printed 651], 666sympathetic lament within religious polemic and the objection to mourning worshipped gods
28. despair distinguished, limits of representation, sorrow for sin, desired repentance and promised comfort
29. Unnumbered Tableretrieval routes for sorrow’s causes, symptoms, counsel and disclosure

In this edition

“as sorrow, which contracts the Heart” → “as sorrow does: it contracts the heart”; “macerates the Soule” → “torments the soul”. Sorrow remains unchanged. The supplied “does” completes the preceding construction about present evil; the heart’s contraction and the soul’s torment are asserted effects, not meanings contained in the noun alone.

Elsewhere “grief in the mouth of the stomack” becomes “pain at the mouth of the stomach”; “finde himself grieved” belongs to the fuller conditional clause rendered as a physician who “resents my intrusion into his profession”. “In sober sadnesse” becomes “in all seriousness”. The Latin “severa tristitia” similarly gives “stern solemnity” in the Petronius margin, where the character is Eumolpus, describing his own pretence.

Marginal quotations and editorial translations remain separate. The malformed “triste, sunt” is retained in the symptom margin, not silently presented as a normal Latin construction. The supplied notes distinguish Mark’s sorrow unto death from Luke’s sweating blood, and flag the uncertain attribution of the extended consolation to Cicero. No fresh collation of those historical witnesses or cited authorities is claimed here.

The verbal dictionary keys are tristor, lugeo, maereo and contristo; their printed inflections remain separate. In “ex tristibus tristes,” parents and children are supplied referents of the adjectives. “Tristi tristius Helleboro” distinguishes bitter hellebore from the bitterer kiss; the bodily comparison supplies a taste sense. In “Particeps lætorum & tristium,” the neuter plurals are substantive joys and sorrows. The non dolere phrase is rendered “to be free from pain,” followed by Burton’s own “not to grieve”; these parallel formulations are retained rather than forced into one identical phrase.

adding grief to grief

Printed “not add grief to grief” (English; phrase).

Citation convention

Avoid increasing an already distressed person’s suffering.

Context: In treating jealousy, Burton urges others to stop mockery and harsh treatment and instead offer reassurance and mediation. This contrasts with his reported use of induced greater sorrow elsewhere.

Source: original body

Source wording, Original wording: they should not add grief to grief, nor aggravate their misery

Modern rendering: they should not add grief to grief or aggravate their misery

Word and construction: The entire negative injunction is aligned; the two griefs are existing and added distress.

Alignment convention

Supplied words note: They refers to those treating the jealous sufferers, and their to the sufferers; both are resolved from the surrounding sentence.

compassion as sorrow

Printed “Misericordia etiam quæ tristitia quædam est” (Latin; phrase).

Printed form, Source wording, Original wording: Misericordia etiam quæ tristitia quædam est

Citation convention

Compassion described as a kind of sorrow.

Context: The Agrippa-attributed marginal account then claims that compassion often adversely affects the compassionate person’s body.

Source: original marginal quotation

Modern rendering: Compassion too, which is a kind of sorrow

Alignment convention

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Too and a kind of render etiam and quædam. The relative clause identifies compassion as a species of sorrow.

compassionate grief

Printed “miseriæ potius indolescat” (Latin; phrase).

Printed form, Source wording, Original wording: miseriæ potius indolescat

Citation convention

Rather grieve at their misery, as an instruction to the observer.

Context: The Lemnius-attributed margin urges compassion instead of insult or severity; this differs from avoiding habitually lamenting companions.

Source: original marginal quotation

Modern rendering: rather let him grieve at their misery

Alignment convention

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Let him expresses the jussive indolescat. Their is supplied from the sufferers under discussion; rather renders potius.

concealed grief

Printed “strangulat inclusus dolor atque exæstuat intus” (Latin; phrase).

Printed form, Source wording, Original wording: strangulat inclusus dolor atque exæstuat intus

Citation convention

Grief shut within chokes and seethes inside, supporting disclosure to a friend.

Context: Burton inserts Ovid’s verse within advice for those unable to moderate themselves.

Source: original body

Modern rendering: grief shut within chokes us and seethes inside

Alignment convention

Alignment convention

Supplied words note: Us is supplied as the object of strangulat; grief is the subject. Within and inside render inclusus and intus separately.

condole

Printed “condole their misery” (English; lemma). Attestation: phrase.

Citation convention

Feel or express compassionate sorrow over others’ suffering.

Context: Burton’s religious polemic alternates ridicule of alleged folly with grief at suffering and violence. The hostile characterizations of religious groups are his, not neutral description.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.

Source wording, Original wording: I must needs condole their misery

Modern rendering: I must pity their misery

Word and construction: Condole supplies pity or sympathetic grieving; misery supplies its object.

Alignment convention

Supplied words note: Must carries must needs; I is Burton’s authorial speaker.

contristo

Printed “contristat” (Latin; lemma). Attestation: word form.

Citation convention

Make sad or gloomy; the wintry year is personified as the object of Aquarius’s action.

Context: Burton adapts a Horatian line within a historical account of weather acting on people; this personification is distinct from the adjacent physiological claims.

Source: original body

Source wording, Original wording: Gelidum contristat Aquarius annum

Modern rendering: Aquarius saddens the chilly year

Word and construction: Contristat supplies saddens, Aquarius the subject, and gelidum annum the chilly year.

Alignment convention

Supplied words note: The definite article is supplied in English; chilly translates Burton’s printed gelidum, not the comparison text’s different adjective.

cordolium

Printed “Cordolium” (Latin in English syntax; lemma). Attestation: word form.

Citation convention

Heartache or inward pain occasioned here by the absent son.

Context: Burton’s prose gloss develops Menedemus’s comic speech; servants cannot remove the distress.

Source: original body

Source wording, Original wording: his Cordolium, his pain, his agony

Modern rendering: his heartache, his pain, his agony

Alignment convention

Alignment convention

Supplied words note: His is explicit and refers to Menedemus. The English heartache explains cordolium; pain and agony are separate restatements.

disposition and habit

Printed “out of many dispositions, procureth an habit” (English; phrase).

Printed form, Source wording, Original wording: out of many dispositions, procureth an habit

Citation convention

Repeated passing states developing into an established condition.

Context: The Platter-attributed English concerns persistent grief after loss; its marginal Latin uses a stronger always claim.

Source: original body

Modern rendering: repeated dispositions produce an established condition

Alignment convention

Alignment convention

Supplied words note: Established condition explains habit; repeated expands many dispositions. The modern adds no equivalent of the margin’s universal semper.

dolor · dolorem dolore

Printed “dolorem dolore” (Latin; lemma). Attestation: phrase.

Citation convention

Grief or sorrow: dolorem is the object consoled, while dolore names the means of consolation in Burton’s self-description.

Context: Unattributed original marginal quotation, separate from its supplied translation.

Source: original marginal quotation

Source wording, Original wording: Otium otio dolorem dolore sum solatus.

Modern rendering: I have consoled idleness with idleness, sorrow with sorrow.

Word and construction: The full Latin sentence and full supplied editorial translation are aligned; the indexed nouns denote sorrow, not the whole consolation statement.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: I is encoded by sum solatus; sorrow occurs twice, as the object dolorem and the means dolore. The consoling action belongs to solatus, not dolor.

dolor · egeriturque dolor

Printed “egeriturque dolor” (Latin; lemma). Attestation: phrase.

Citation convention

Grief or sorrow, the subject of being satisfied by tears and poured away; the consoling action belongs to the verbs.

Context: Ovid’s exile speaker addresses his living wife; Burton uses the lines in a bereavement consolation.

Source: original body

Source wording, Original wording: Expletur lachrymis egeriturque dolor

Modern rendering: Grief finds satisfaction in tears and is poured away

Word and construction: Dolor supplies grief; expletur and egeritur state what happens to it, and lachrymis specifies tears. The whole line is aligned.

Alignment convention

Supplied words note: Grief remains the shared subject of the two coordinated English predicates. Tears render lachrymis; poured away belongs to egeritur.

dolor

Printed “dolor” (Latin; lemma). Attestation: word form.

Citation convention

Grief or sorrow, used as the common term in definitions of envy and ambition.

Context: Burton invokes Aristotle to justify classing cares and discontents among irascible passions, while acknowledging that others might object to their placement.

Source: original marginal quotation

Source wording, Original wording: Invidia est dolor & ambitio est dolor

Modern rendering: Envy is grief, and ambition is grief

Word and construction: Dolor is the predicate noun in each definition; the objects of these passions are supplied elsewhere, not encoded by dolor.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: English supplies no new substantive term; the repeated is corresponds to est.

dolor · tanto dolore

Printed “tanto dolore” (Latin; lemma). Attestation: phrase.

Citation convention

Grief or sorrow; ablative dolore supplies what overwhelms the remembered consolations, with tanto marking its degree.

Context: Pliny’s bereaved voice is cited to show why familiar maxims may fail. Burton’s ensuing demand to speak something new or hold one’s peace is an added English gloss.

Source: original body

Source wording, Original wording: nam quæ audivi, quæ legi omnia, tanto dolore superantur

Modern rendering: for everything I have heard and read is overwhelmed by such grief

Word and construction: The full clause is aligned; dolor contributes grief, while superantur supplies being overcome.

Alignment convention

Supplied words note: Everything renders omnia; such renders tanto. The subject I is encoded in audivi and legi.

executioner as grief

Printed “a perpetual executioner” (English; phrase).

Printed form, Source wording, Original wording, Modern rendering: a perpetual executioner

Citation convention

An image of grief’s unremitting torment of body and soul.

Context: Burton paraphrases an account attributed to Chrysostom’s letter to Olympias; the image is not a literal agent.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Alignment convention

Alignment convention

Supplied words note: Perpetual is explicit. The executioner is an image of sorrow, identified in the surrounding account, rather than an additional literal agent.

fear and sorrow

Printed “most Melancholy, not all” (English; phrase).

Citation convention

Fear and sadness attending most melancholy cases, with an explicit exception to universality.

Context: Burton expressly accepts exceptions to the common definition.

Source: original body

Source wording, Original wording: inseparable companions of most Melancholy, not all

Modern rendering: inseparable companions of most melancholy, though not all

Alignment convention

Alignment convention

Supplied words note: Though is supplied to articulate the original qualification not all; neither column asserts universality.

Fields of Mourning

Printed “Campos lugentes” (Latin; phrase).

Printed form, Source wording, Original wording: Campos lugentes

Citation convention

A mythological region of those who died for love, named by its grief.

Context: Burton joins Gismunda’s burial request to Virgil’s afterlife landscape and loosely calls it Elysian; the continuation says love’s cares persist even after death.

Source: original body

Modern rendering: the Fields of Mourning

Word and construction: Campos means fields; lugentes is the agreeing accusative plural present participle of lugeo, rendered attributively of Mourning.

Alignment convention

Supplied words note: The definite article is supplied; capitals mark the named region rather than a new doctrine of the afterlife.

fluctuating sorrow

Printed “merry and sad, but most part sad” (English; phrase).

Printed form, Source wording, Original wording: merry and sad, but most part sad

Citation convention

Alternating or concurrent merriment and sorrow, with sorrow predominant here.

Context: Burton describes changing states without assigning a modern diagnosis.

Source: original body

Modern rendering: merry and sad, but mostly sad

Alignment convention

Alignment convention

Supplied words note: Mostly renders most part. No all-the-time claim is added.

freedom from sorrow

Printed “without sorrow” (English; phrase).

Citation convention

The stricter ideal of the wise person’s freedom from sorrow.

Context: Burton expressly sides with Seneca here despite earlier allowance of natural and moderate grieving.

Source: original body

Source wording, Original wording: without sorrow: as all wise men should be

Modern rendering: without sorrow, as all wise people should be

Alignment convention

Alignment convention

Supplied words note: People renders men. All and should remain the scope and normative force of the quoted ideal.

greater sorrow displacing lesser

Printed “by some greater sorrow, to drive out the less” (English; phrase).

Citation convention

Use one grief to obscure another, here as a deliberately induced counterpassion.

Context: The proposal follows failure of change of place and includes fabricated distressing news. The next story uses staged accusation but fears excessive grief; later counsel is delayed until passion subsides.

Source: original body

Source wording, Original wording: by some greater sorrow, to drive out the less, saith Gordonius

Modern rendering: “Drive out the smaller sorrow by a greater,” says Gordonius

Word and construction: Greater and less compare the sorrows; driving out is the claimed treatment action rather than the noun’s definition.

Alignment convention

Supplied words note: Sorrow is made explicit after smaller; the original less takes sorrow as its understood noun. The attribution remains Gordonius.

grief and relapse

Printed “fell many years after into a relapse” (English; phrase).

Printed form, Source wording, Original wording: fell many years after into a relapse

Citation convention

Recurrence after reported recovery, triggered by a later bereavement.

Context: Burton reports Trincavelli’s fifty-year-old patient cured by Falloppio after his mother’s death; the daughter’s later death prompts relapse.

Source: original body

Modern rendering: he relapsed many years later

Alignment convention

Alignment convention

Supplied words note: He is supplied from the preceding case narrative. Many years later is explicit, not an estimated interval added by the modern.

grief and tears

Printed “grief and pity” (English; phrase).

Citation convention

Grief means sorrow and pity means compassion; they are emotional sources of tears alongside the separately stated physiological explanation.

Context: Burton attributes to Scaliger an account allowing tears from grief and pity or a heated moist brain.

Source: original body

Source wording, Original wording: Tears, as Scaliger defines, proceed from grief and pity, or from the heating of a moist brain

Modern rendering: Tears, as Scaliger defines them, proceed from grief and pity, or from the heating of a moist brain

Alignment convention

Alignment convention

Supplied words note: Them after defines is supplied to refer back to tears. Grief and pity are distinct emotions; the alternative physiological cause is separately stated.

grief as pain

Printed “grief in the mouth of the stomack” (English; phrase).

Printed form, Source wording, Original wording: grief in the mouth of the stomack

Citation convention

Bodily pain at the upper opening of the stomach.

Context: The symptom account distinguishes this site from the heart where the patient thinks the pain occurs.

Source: original body

Modern rendering: pain at the mouth of the stomach

Alignment convention

Alignment convention

Supplied words note: The mouth is the original anatomical metaphor for the stomach’s opening; pain renders grief in this bodily context.

grievance · grievances

Printed “grievances” (English; lemma). Attestation: word form.

Citation convention

Troubles or causes of distress disclosed to a trusted friend.

Context: Burton reports Commynes’s advice to pray first and then confide; grievances here are not a formal legal process.

Source: original body

Source wording, Original wording: to tell all our grievances to him

Modern rendering: telling him all our troubles

Alignment convention

Alignment convention

Supplied words note: Him refers to the trusted friend already introduced; all is explicit, and troubles renders grievances.

grievance · particular grievances

Printed “particular grievances” (English; lemma). Attestation: phrase.

Citation convention

Public wrongs or causes of complaint affecting a political community.

Context: Burton concludes a political diagnosis of bad government, rather than describing only an individual emotional symptom.

Source: original body

Source wording, Original wording: particular grievances, which must disturb a body politick

Modern rendering: particular grievances that must disturb a political community

Word and construction: Grievances names the wrongs or troubles; the relative clause specifies their effect and body politick their collective object.

Alignment convention

Supplied words note: Political community explains body politick; must is explicit.

grievance · divers grievances

Printed “divers grievances” (English; lemma). Attestation: phrase.

Citation convention

Ailments or bodily complaints, classified here by location in the head.

Context: Burton gives a historical anatomical classification derived through Heurnius and Arculanus; the source even lists baldness and lice under ailments belonging to the brain.

Source: original body

Source wording, Original wording: so there be divers grievances

Modern rendering: so it has various ailments

Word and construction: Grievances corresponds to ailments; the diversity and anatomical location come from the surrounding construction.

Alignment convention

Supplied words note: It is supplied for the head, already named; various renders divers.

grieve

Printed “finde himself grieved” (English; lemma). Attestation: phrase.

Citation convention

Take offence or feel resentment at an intrusion.

Context: A hypothetical physician objects to Burton entering medicine; this is not a described bereavement or diagnosis.

Source: original body

Source wording, Original wording: finde himself grieved that I have intruded into his profession

Modern rendering: resents my intrusion into his profession

Word and construction: The full idiomatic predicate and its object are aligned. The surrounding if-clause supplies the hypothetical physician; grieved alone does not encode the intrusion.

Alignment convention

Supplied words note: The hypothetical physician is supplied by the surrounding if-clause. Intrusion and profession are expressed by the full complement, not by grieved alone.

grieve as reluctance

Printed “It shall not grieve me” (English; phrase).

Citation convention

Trouble or displease me; in the negative, express willingness rather than reluctance to undertake hardship.

Context: Burton’s English verse paraphrases Phaedra’s offer of devoted service to Hippolytus. It is a dramatic lover’s boast, not the author’s promise.

Source: original body

Source wording, Original wording: It shall not grieve me to the snowy hills, Or frozen Pindus tops forthwith to climbe

Modern rendering: I shall not mind climbing straightaway To snowy hills or frozen Pindus’s peaks

Word and construction: The full negated construction is aligned with shall not mind; grieve here does not primarily denote mourning.

Alignment convention

Supplied words note: I takes over the experiencer me as English subject; straightaway renders forthwith.

heaviness · heaviness of the heart

Printed “heaviness of the heart” (English; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: heaviness of the heart

Citation convention

Deep emotional distress within the scriptural and figurative account of grief.

Context: Burton’s Sirach citation introduces the domineering-passion comparison.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Modern rendering: heaviness of heart

Alignment convention

Alignment convention

Supplied words note: Of heart retains the original figurative location; no bodily weight or separate diagnosis is supplied.

heaviness · an heaviness to his mother

Printed “an heaviness to his mother” (English; lemma). Attestation: phrase.

Citation convention

A cause or source of grief: the son occasions his mother’s distress.

Context: Burton quotes Proverbs within a reciprocal account of children distressing parents and parents distressing children.

Source: original body

Source wording, Original wording: A foolish son is an heaviness to his mother

Modern rendering: A foolish son is a grief to his mother

Word and construction: Heaviness corresponds to grief, with the predication assigning the son the role of its cause.

Alignment convention

Supplied words note: The possessive his and the relationship to the mother are explicit.

indolentia

Printed “Indolentia” (Latin; lemma). Attestation: word form.

Citation convention

Absence of pain or grief; the sentence says this is not given to everyone, and the continuation links insensibility with the loss of pity.

Context: Burton invokes the Plutarch-attributed consolation to defend natural grief; this does not mean laziness.

Source: original body

Source wording, Original wording: Indolentia non cuivis contingit

Modern rendering: Freedom from grief is not given to everyone

Alignment convention

Alignment convention

Supplied words note: Freedom from grief renders Indolentia; not given to everyone preserves non cuivis contingit and does not mean given to no one.

lament

Printed “lament with Heraclitus” (English; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: lament with Heraclitus

Citation convention

Express grief or mourn; here a mode of responding to abuses that the writer cannot remedy.

Context: Burton describes his mixed authorial response, including satire, laughter, anger and lament; he does not present one unvarying stance.

Source: original body

Modern rendering: lamented with Heraclitus

Word and construction: The whole phrase is aligned; the modern past tense follows the governing did in the full original sentence.

Alignment convention

Supplied words note: The subject I comes from the surrounding sentence; with Heraclitus names a conventional model of lamentation.

luctus

Printed “luctus” (Latin; lemma). Attestation: word form.

Citation convention

Grief or mourning; genitive luctus depends on the surrounding words for fierceness and madness, which supply the intensity.

Context: Burton adapts a Statius line, shifting its reference from the poet’s first person to another person.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Source wording, Original wording: Tanta illi est feritas, tanta est insania luctus.

Modern rendering: So fierce is his grief, so great its madness.

Word and construction: Luctus supplies of grief; feritas, insania and tanta provide fierceness, madness and degree. The whole sentence is aligned, not attributed to luctus alone.

Alignment convention

Supplied words note: His renders the dative illi. Fierce and great belong to feritas and tanta; intensity is not contained in luctus alone.

lugeo · Lugentes

Printed “Lugentes” (Latin; lemma). Attestation: word form.

Citation convention

Mourn or grieve: Lugentes is a substantival present participle, accusative plural, meaning those who mourn, the objects of watchful care.

Context: Burton adapts Seneca to support guarding against harmful solitude in his historical treatment discussion.

Source: original body

Source wording, Original wording: Lugentes custodire solemus

Modern rendering: We are accustomed to watch over those who mourn

Alignment convention

Alignment convention

Supplied words note: Those who makes the substantival participle Lugentes explicit; we is encoded by solemus. Watching over them is expressed by custodire.

lugeo · lugere

Printed “lugere” (Latin; lemma). Attestation: word form.

Citation convention

Mourn or lament, here in a polemical question about ritual mourning for gods.

Context: Burton quotes an objection attributed to Minucius Felix, opposing divine immortality to mourning rites; this is an argument within Christian anti-idolatry polemic.

Source: original body

Source wording, Original wording: Nonne ridiculum lugere quod colas, vel colere quod lugeas?

Modern rendering: Is it not ridiculous to mourn what you worship, or worship what you mourn?

Word and construction: Lugere and lugeas give the two instances of mourning; colas/colere supply worship. The rhetorical question, rather than the verb alone, supplies ridicule.

Alignment convention

Supplied words note: You is encoded in colas/lugeas; is it is supplied in the original’s compressed question.

macerate

Printed “macerates the Soule” (English; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: macerates the Soule

Citation convention

Torment or wear away; the soul is the stated object, and sorrow the claimed agent.

Context: Burton’s emotional classification supplies historical causal claims about soul and body.

Source: original body

Modern rendering: torments the soul

Alignment convention

Alignment convention

Supplied words note: The soul is the expressed object. Torments clarifies macerates without supplying a modern medical mechanism.

maereo

Printed “mærens” (Latin; lemma). Attestation: word form.

Citation convention

Grieve or mourn; mærens is a present active participle describing Bellerophon.

Context: Burton’s Latin adaptation of Homer presents sorrowful withdrawal; the following English verse is a separate paraphrase. Later qualification makes the symptom more or less apparent, sometimes absent.

Source: original body

Source wording, Original wording: Qui miser in sylvis mærens errabat opacis

Modern rendering: Who wandered wretched and grieving in shadowy woods

Word and construction: Mærens supplies grieving; miser supplies wretched, and the verb and location belong to the rest of the line.

Alignment convention

Supplied words note: Who resumes the Bellerophon named in the preceding unit; the modern adds no independent action to mærens.

moderation of grief

Printed “we do not (saith Austin) forbid men to grieve, but to grieve overmuch” (English; phrase).

Printed form, Source wording, Original wording: we do not (saith Austin) forbid men to grieve, but to grieve overmuch

Citation convention

Permission to grieve, conditional on moderation and just reason.

Context: Burton adapts Augustine’s judgement by objects and causes, opposing excessive grief.

Source: original body

Modern rendering: We do not, says Augustine, forbid people to grieve, but to grieve excessively

Alignment convention

Alignment convention

Supplied words note: Says Augustine modernizes saith Austin. People renders men. The negation belongs to the prohibition, not to the existence of grief.

mother and daughter

Printed “The mother and daughter of melancholy” (English; phrase).

Printed form, Source wording, Original wording: The mother and daughter of melancholy

Citation convention

Sorrow as both a producer and an outcome of melancholy.

Context: Burton explains reciprocal generation in a circle; not a literal kinship or direct Hippocratic quotation.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Modern rendering: melancholy’s mother and daughter

Alignment convention

Alignment convention

Supplied words note: Melancholy is the expressed relation; mother and daughter are causal and consequential metaphors, not literal kinship.

mourner

Printed “black mourners” (English; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: black mourners

Citation convention

Funeral attendants dressed in black, a visible convention of mourning.

Context: Burton reports Cortesio’s exceptional will replacing them with twelve green-clad maidens; the anecdote is attributed to Scardeone.

Source: original body

Modern rendering: mourners in black

Alignment convention

Alignment convention

Supplied words note: In makes explicit the clothing relation in black mourners; it does not identify the mourners’ race.

mourning and consolation

Printed “Blessed are they that mourn” (English; phrase).

Citation convention

Religious mourning associated with promised consolation.

Context: Burton quotes Matthew 5:4 within an argument that affliction may counter complacency and show divine care.

Source: original body

Source wording, Original wording: Blessed are they that mourn, for they shall be comforted

Modern rendering: Blessed are those who mourn, for they shall be comforted

Alignment convention

Alignment convention

Supplied words note: Those modernizes they. Shall preserves the scriptural promise; the sentence does not identify all clinical sorrow with penitence.

mæstus

Printed “mæstus” (Latin; lemma). Attestation: word form.

Citation convention

Sorrowful on returning home.

Context: Menedemus speaks in Terence; his son is absent after estrangement, not dead.

Source: original body

Source wording, Original wording: Domum revortor mæstus

Modern rendering: I return home sorrowful

Alignment convention

Alignment convention

Supplied words note: I is encoded by revortor; home renders domum; sorrowful renders mæstus. The absent son is identified by the surrounding dramatic context.

mœror · mœrore

Printed “mœrore” (Latin; lemma). Attestation: word form.

Citation convention

Grief or sorrow, named with fear as an occasion of the condition.

Context: Lemnius-attributed marginal statement says many, not everyone.

Source: original marginal quotation

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Source wording, Original wording: Multi ex mœrore & metu huc delapsi sunt.

Modern rendering: Many have fallen into this condition through grief and fear.

Alignment convention

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: This condition expands huc, literally hither, from the melancholy context. Many renders multi; the source does not say all.

mœror · Mœrore maceror

Printed “Mœrore maceror” (Latin; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: Mœrore maceror

Citation convention

Grief or sorrow: ablative mœrore gives the cause of the speaker’s wasting in a comic lament.

Context: The Plautus margin adapts Ergasilus’s complaint; his lost meals form part of the original comic situation according to the supplied note.

Source: original marginal quotation

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Modern rendering: Grief wastes me

Word and construction: Mœrore contributes by grief; maceror contributes I am wasted. The English recasts the passive Latin as the active Grief wastes me.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Me is encoded in maceror. The English makes grief its grammatical subject, where the Latin mœrore is ablative cause or means with a passive verb.

mœstitia

Printed “mœstitia” (Latin; lemma). Attestation: word form.

Citation convention

Sadness whose prolonged persistence enters the account of reciprocal causation.

Context: Original margin names Hippocrates and later authorities; the duration condition is explicit.

Source: original marginal quotation

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Source wording, Original wording: Timor & mœstitia, si diu perseverent

Modern rendering: Fear and sadness, if they persist long

Word and construction: The complete coordinated subjects and conditional phrase are aligned; prolonged persistence is a condition, not the lexical meaning of mœstitia.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: They refers to the coordinated fear and sadness. The condition if they persist long belongs to si diu perseverent.

nepenthe as consoling speech

Printed “that true Nepenthe of Homer” (English; phrase).

Printed form, Source wording, Original wording: that true Nepenthe of Homer

Citation convention

A grief-relieving remedy, here interpreted as speech suited to the occasion.

Context: Burton appeals to an allegorical interpretation of Helen’s drug, with wise and timely administration as a condition. It differs from the later herbal and wine identifications.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.

Modern rendering: Homer’s true nepenthe

Word and construction: The noun phrase is aligned; the speech interpretation belongs to the full ensuing contrast, not to Homer’s name alone.

Alignment convention

Supplied words note: The possessive recasts of Homer; speech suited to the occasion is stated later as opportunity of speech.

nepenthe as herb

Printed “that famous Nepenthes of Homer” (English; phrase).

Printed form, Source wording, Original wording: that famous Nepenthes of Homer

Citation convention

The reputed grief-banishing drug, here conjecturally identified with borage or bugloss.

Context: Burton attributes the identification to named authorities and repeats it as a conjecture. The literary power to prevent grieving at extreme loss is not medical verification.

Source: original body

Modern rendering: Homer’s famous nepenthe

Word and construction: The whole noun phrase is aligned; the botanical identification and the grief-banishing claim are separately explained by the surrounding passage.

Alignment convention

Supplied words note: The English possessive recasts of Homer; the modern singular spelling nepenthe renders printed Nepenthes.

non dolere

Printed “non dolere” (Latin; phrase).

Citation convention

Not to suffer pain or grief, one element of the quiet life presented as Epicurus’s highest pleasure.

Context: Burton defends Epicurus against the charge that his pleasure means eating and drinking; the accusation against Aristotle is retained as Burton’s chronologically problematic report.

Source: original body

Source wording, Original wording: non dolere, curis vacare, animo tranquillo esse

Modern rendering: to be free from pain, free from cares, tranquil in mind

Word and construction: Non dolere contributes freedom from pain; the other two infinitive phrases separately give freedom from cares and mental tranquillity. Burton’s following English gloss says not to grieve.

Alignment convention

Supplied words note: The infinitive to is supplied conventionally; free from pain is an idiomatic positive rendering of non dolere.

penitential grief

Printed “grieve thou dost not grieve” (English; phrase).

Citation convention

Feel distress at the perceived inability to feel sorrow for sin.

Context: Burton’s consoling reply treats this second-order distress as a sign of a desire to repent; the earlier inability is the sufferer’s complaint.

Source: original body

Source wording, Original wording: yet canst thou grieve thou dost not grieve?

Modern rendering: Yet can you grieve because you do not grieve?

Alignment convention

Alignment convention

Supplied words note: Because supplies the relation between grieving and not grieving; the source is a question, and the modern preserves that force.

pleasing melancholy

Printed “pleasing melancholy” (English; phrase).

Citation convention

A pleasurable state evoked by music, distinguished from the sorrow it may relieve.

Context: Burton’s apparent paradox follows an explicit exception for music-fed amorous fixation and precedes further harmful effects.

Source: original body

Source wording, Original wording: it is a pleasing melancholy that it causeth

Modern rendering: the melancholy it causes is pleasant

Alignment convention

Alignment convention

Supplied words note: The melancholy it causes is a grammatical recasting of it is a pleasing melancholy that it causeth; the cause is music from context.

public mourning

Printed “Luctus publicus” (Latin; phrase).

Citation key, Modern rendering: public mourning

Printed form, Source wording, Original wording: Luctus publicus

Citation convention

Collective public mourning after military disaster.

Context: Burton applies the Latin label to the Hungarians’ loss of their king and soldiers.

Source: original body

Alignment convention

Alignment convention

Supplied words note: Public and mourning correspond directly to the adjective and noun; the military disaster is supplied by the surrounding narrative.

sad

Printed “very sad in his absence” (English; lemma). Attestation: phrase.

Citation convention

Sorrowful or dejected, attributed here to a lynx separated from its human keeper.

Context: This is Busbecq’s first-person account as transmitted by Burton. The narrative treats the animal’s attachment as love; the reported behaviour and death do not independently establish its causal interpretation.

Source: original body

Source wording, Original wording: very sad in his absence, but most jocond when he returned

Modern rendering: It was very sad in his absence, but delighted when he returned

Word and construction: Sad stays sad; most jocond supplies the contrast of delight on return.

Alignment convention

Supplied words note: It was is supplied from the continuing animal subject; his refers to Busbecq’s man, not Burton’s own servant.

sober sadness

Printed “in sober sadnesse” (English; phrase).

Printed form, Source wording, Original wording: in sober sadnesse

Citation convention

In earnest, with serious intent.

Context: Burton represents the named cosmological writers as sincerely defending the hypothesis, then develops a lunar pun.

Source: original body

Modern rendering: in all seriousness

Alignment convention

Alignment convention

Supplied words note: All in all seriousness is idiomatic English emphasis; the phrase means earnestness, rather than literal soberness plus emotional sadness.

sorrow · every smal occasion of sorrow

Printed “every smal occasion of sorrow” (English; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: every smal occasion of sorrow

Citation convention

Emotional distress or grief; here any small occasion of it may prompt passing melancholy as disposition.

Context: Burton distinguishes this broad, equivocal sense from the established condition called habit.

Source: original body

Modern rendering: every small occasion of sorrow

Alignment convention

Alignment convention

Supplied words note: Every and small are explicit; passing describes melancholy as disposition in the surrounding sentence, not the word sorrow.

sorrow

Printed “sorrow” (English; lemma). Attestation: word form.

Citation convention

Emotion concerning a present evil in this local classification.

Context: Burton contrasts present sorrow with fear of future evil and assigns bodily effects.

Source: original body

Source wording, Original wording: as sorrow, which contracts the Heart

Modern rendering: as sorrow does: it contracts the heart

Word and construction: The modern supplies does from the preceding classification; the relative clause separately states a physiological effect.

Alignment convention

Supplied words note: Does is supplied from the preceding classification; it resumes sorrow, while contraction of the heart is a separately asserted effect.

sorrow · Sorrow hath so despoil’d me of all grace

Printed “Sorrow hath so despoil’d me of all grace” (English; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: Sorrow hath so despoil’d me of all grace

Citation convention

Grief described as having stripped away the speaker’s beauty.

Context: Drayton’s Eleanor addresses Humphrey; Burton quotes her dramatic lament.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Modern rendering: Grief has stripped me of all beauty so completely

Alignment convention

Alignment convention

Supplied words note: Beauty renders grace in Eleanor’s literary lament. So completely carries so; me remains the speaker in the verse.

sorrow and representation

Printed “sorrow in summo gradu” (English with Latin; phrase).

Citation convention

Sorrow at its greatest intensity, said to exceed artistic portrayal.

Context: Burton invokes Timanthes’s veiled Agamemnon, leaving the spectator to imagine the father’s grief, then uses the painter’s limit as a model for describing despair. This is an aesthetic and rhetorical claim.

Source: original body

Source wording, Original wording: true passion and sorrow in summo gradu

Modern rendering: true emotion and sorrow in their highest degree

Word and construction: Sorrow remains sorrow; in summo gradu supplies highest degree.

Alignment convention

Supplied words note: Their makes the shared degree of passion and sorrow idiomatic; highest renders summo.

sorrow and spirits

Printed “or at least dulleth them” (English; phrase).

Citation convention

At least weakens or blunts the good spirits, offered as a lesser alternative to extinguishing them.

Context: Burton’s Melanchthon-attributed explanation allows dulling as distinct from extinguishing; historical physiology.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Source wording, Original wording: extinguisheth the good spirits, or at least dulleth them

Modern rendering: extinguishes the good spirits, or at least dulls them

Alignment convention

Alignment convention

Supplied words note: Them refers to the good spirits. Or at least explicitly weakens the preceding claim of extinguishing them.

Sorrow as Angerona

Printed “sorrow amongst the rest, under the name of Angerona Dea” (English; phrase).

Printed form, Source wording, Original wording: sorrow amongst the rest, under the name of Angerona Dea

Citation convention

Sorrow personified as the goddess Angerona in Burton’s account of worshipped emotions.

Context: Burton reports ancient worship and propitiation. His stated festival date differs from the Macrobius passage identified by the supplied editor; the report is not independently verified here.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Modern rendering: Sorrow was among them, under the name of the goddess Angerona

Word and construction: The whole phrase is aligned; Angerona Dea identifies the divine name, rather than a separate physiological kind of sorrow.

Alignment convention

Supplied words note: Was makes the preceding so was construction explicit; the goddess renders Dea.

sorrow as bodily pain

Printed “sorrow in childbed” (English; phrase).

Citation convention

Physical pain in childbirth.

Context: Burton uses childbirth in exhortation to endure illness; the following claims about women’s wishes are his generalizations, and the assurance that pain ends includes the alternative of death.

Source: original body

Source wording, Original wording: women endure much sorrow in childbed

Modern rendering: Women endure great pain in childbirth

Word and construction: Sorrow corresponds to pain in this bodily setting; childbirth belongs to in childbed.

Alignment convention

Supplied words note: Great renders much; childbirth modernizes childbed.

sorrow as cause

Printed “a sole cause” (English; phrase).

Citation convention

A cause sufficient by itself to produce the disorder.

Context: Burton attributes this formulation to Lemnius while listing many other causes elsewhere.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Source wording, Original wording: a sole cause of this mischief

Modern rendering: a cause sufficient by itself to produce this affliction

Alignment convention

Alignment convention

Supplied words note: Sufficient by itself to produce expands sole cause; this affliction renders this mischief. The phrase does not exclude other causes.

sorrow as chastisement

Printed “If he be in sorrow” (English; phrase).

Citation convention

Distress placed among afflictions that may prompt self-examination and correction.

Context: Burton offers a theological interpretation: suffering may be for the sufferer’s good. The preceding alternative makes it trial or correction as well as punishment; it is not a modern causal judgement about illness.

Source: original body

Source wording, Original wording: If he be in sorrow, need, sicknesse, or any other adversity

Modern rendering: If he suffers sorrow, poverty, sickness or any other adversity

Word and construction: The conditional list is aligned; sorrow is one item, not the whole theological explanation.

Alignment convention

Supplied words note: Suffers makes the state be in idiomatic; poverty explains need. May be for his good is the subsequent source qualification.

sorrow as counterpassion

Printed “comfort one sorrow with another” (English; phrase).

Printed form, Source wording, Original wording: comfort one sorrow with another

Citation convention

Use the experience and writing of sorrow as a counterweight to sorrow itself.

Context: Burton’s prefatory self-description compares a remedy made from its own harmful material.

Source: original body

Modern rendering: soothe one sorrow with another

Alignment convention

Alignment convention

Supplied words note: Another means another sorrow, understood from the first occurrence; the modern adds no new cause or remedy.

sorrow at supposed loss

Printed “his sonnes death” (English; phrase).

Citation convention

A supposed death producing real grief in the compressed Aegeus story.

Context: The supplied contextual note clarifies that Theseus remains alive; Aegeus mistakes the sail’s signal.

Source: original body

Source wording, Original wording: sorrow for his sonnes death

Modern rendering: grief at his son’s death

Alignment convention

Alignment convention

Supplied words note: His refers to Aegeus; the clause reports the supposed death as the object of sorrow, without verifying that the son died.

sorrow in love

Printed “Sorrow hath the greatest share” (English; phrase).

Printed form, Source wording, Original wording: Sorrow hath the greatest share

Citation convention

Sorrow’s predominant place within this account of love’s mixed passions.

Context: Burton says love is bitterness to many, not that every love experience consists solely of sorrow.

Source: original body

Modern rendering: sorrow takes the greatest share

Alignment convention

Alignment convention

Supplied words note: Takes modernizes hath. Greatest is explicit within this account of love’s mixture, not a universal comparative established for all emotions.

sorrowful

Printed “sorrowfull countenance” (English; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: sorrowfull countenance

Citation convention

Expressing or displaying grief; the surrounding polemic alleges that this particular sorrowful appearance is feigned.

Context: Burton’s anti-seduction polemic draws on Castiglione; appearance is not treated as proof of genuine feeling.

Source: original body

Modern rendering: a sorrowful expression

Alignment convention

Alignment convention

Supplied words note: The article a is supplied for English idiom; expression renders countenance. Feigning is alleged by the surrounding narrative, not entailed by sorrowfull alone.

sorry · sorry and repented

Printed “sorry and repented” (English; lemma). Attestation: phrase.

Citation convention

Regretful or remorseful about one’s own deed.

Context: Herod is the subject of the attributed narrative; remorse alternates with renewed rage, so it is not presented as a lasting reform.

Source: original body

Source wording: Sometimes he was sorry and repented, much grieved for that he had done

Original wording: Sometimes he was sorry and repented, much grieved for that he had done, Postquam deferbuit ira

Modern rendering: Sometimes, “after his anger had cooled,” he was sorry and repentant, deeply grieved by what he had done

Word and construction: The equal-scope alignment includes the Latin temporal clause that the modern moves within this sentence; sorry itself means regretful.

Alignment convention

Supplied words note: What he had done is explicit. After his anger had cooled renders the immediately following Postquam deferbuit ira, relocated by the modern.

sorry · penitent and sorry for them

Printed “penitent and sorry for them” (English; lemma). Attestation: phrase.

Citation convention

Regretful or remorseful for sins, as a condition in Burton’s assurance of pardon.

Context: The preceding argument distinguishes unwanted suggestions from consent; Burton then adds that even culpable sins are pardonable. He preserves penitence or desire for it and refusal finally to reject mercy.

Source: original body

Source wording, Original wording: if they be penitent and sorry for them

Modern rendering: if the sufferers repent and are sorry for them

Word and construction: Sorry corresponds directly to sorry; the modern changes be penitent to repent.

Alignment convention

Supplied words note: The sufferers expands they from context; them refers to the sins, not to the persons.

time and grief

Printed “dies dolorem minuit” (Latin; phrase).

Printed form, Source wording, Original wording: dies dolorem minuit

Citation convention

The passage of time diminishes sorrow, a consolatory maxim.

Context: Burton states the maxim confidently and extends it to habit and forgetting; elsewhere he records long persistence and relapse, so it should not be universalized into a modern prognostic rule.

Source: original body

Modern rendering: Time lessens grief

Word and construction: Dies is the temporal subject, dolorem the object, and minuit the action; the claim is made by the whole clause.

Alignment convention

Supplied words note: Time renders dies idiomatically, rather than supplying a measured healing interval.

timeliness of consolation

Printed “she will lament and howl for a season” (English; phrase).

Printed form, Source wording, Original wording: she will lament and howl for a season

Citation convention

A period of mourning that immediate advice or remedies cannot simply cut short.

Context: Burton compares newly bereaved parents with lovers whose passion has not yet subsided. The continuation permits counsel later, conditional on receptiveness, rather than rejecting it altogether.

Source: original body

Modern rendering: She will lament and howl for a time

Word and construction: Lament and howl denote expressed grief; for a season sets a temporary interval without measuring it.

Alignment convention

Supplied words note: For a time modernizes for a season. She refers to the bereaved woman invoked by the breast-beating example.

tristis · triste, sunt

Printed “triste, sunt” (Latin; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: triste, sunt

Citation convention

Sad or sorrowful, the intended adjectival sense in printed triste, sunt; the anomalous agreement is retained rather than silently corrected.

Context: Burton-labelled margin cites Altomarus and Aretaeus; the supplied edition retains the malformed triste rather than emending it.

Source: original marginal quotation

Modern rendering: they are sad

Word and construction: The complete malformed clause is aligned with the supplied editorial translation. The lemma is a lookup form, not an assertion that the printed grammar is regular.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: They is required by sunt. The modern renders the apparent intended sense without regularizing printed triste, sunt in the original.

tristis · tristem

Printed “tristem” (Latin; lemma). Attestation: word form.

Citation convention

Bleak or unattractive: tristem is feminine accusative singular describing the land, not a person experiencing grief.

Context: The Sabellicus-attributed margin supports Burton’s judgement that government and cultivation transform a country; the evaluative and colonial framing remain his.

Source: original marginal quotation

Source wording, Original wording: tristem cultu, asperam cælo, terram informem

Modern rendering: bleak in its cultivation, harsh in climate, an unshapely land

Word and construction: Tristem contributes bleak; cultu supplies the respect in which it is bleak. The other adjectives form separate descriptions.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Its is supplied for the land; cultivation and climate render cultu and cælo.

tristis · ex tristibus tristes

Printed “ex tristibus tristes” (Latin; lemma). Attestation: phrase.

Citation convention

Sad: tristibus is an ablative plural substantive for sad parents; tristes is nominative plural for the sad offspring.

Context: The Cardan-attributed marginal account claims transmission of parental dispositions through bodily spirits. This historical causal theory is reported, not established.

Source: original marginal quotation

Source wording, Original wording: ex tristibus tristes, ex jucundis jucundi nascuntur

Modern rendering: sad children are born from sad parents, cheerful ones from cheerful parents

Word and construction: Sad renders the two inflections of tristis; the contrast with cheerful people belongs to jucundis/jucundi and birth to nascuntur.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Children and parents are supplied referents for substantival adjectives; the full context identifies those referents.

tristis · tristi tristius Helleboro

Printed “tristi tristius Helleboro” (Latin; lemma). Attestation: phrase.

Citation convention

Bitter or harsh to taste: tristi describes hellebore; comparative tristius makes the kiss bitterer than it.

Context: The Catullus-attributed verse turns a sweet stolen kiss into bitterness; the surrounding aloes and gall and Burton’s English couplet sustain the taste metaphor.

Source: original body

Source wording, Original wording: Ut mi ex Ambrosiâ mutatum jam foret illud Suaviolum, tristi tristius Helleboro

Modern rendering: So that for me that little kiss had changed from ambrosia To something bitterer than bitter hellebore

Word and construction: The adjective’s forms supply bitter and bitterer; little kiss, change and comparison belong to the whole sentence.

Alignment convention

Supplied words note: Something makes the comparative predicate idiomatic; than expresses the ablative comparison Helleboro. For me renders mi.

tristis · tristium

Printed “tristium” (Latin; lemma). Attestation: word form.

Citation convention

Sad or adverse things, used substantivally in the genitive plural: sorrows shared with a partner.

Context: Burton’s praise of a good wife adds a Latin partnership phrase to the saying attributed to Bacon, after criticism of bad marriages. The nearby generalizations remain historically attributed.

Source: original body

Source wording, Original wording: Particeps lætorum & tristium

Modern rendering: a partner in joys and sorrows

Word and construction: Tristium gives in/of sorrows; lætorum gives joys, and particeps the sharing participant.

Alignment convention

Supplied words note: A is supplied; in makes the genitive relationship idiomatic in English.

tristitia

Printed “tristitia” (Latin; lemma). Attestation: word form.

Citation convention

Sadness as the subject of historical claims about chilling the heart and drying spirits.

Context: The original marginal account gives supposed bodily effects rather than a new definition of sadness.

Source: original marginal quotation

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Source wording, Original wording: Cor refrigerat tristitia, spiritus exsiccat

Modern rendering: Sadness chills the heart, dries the spirits

Alignment convention

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: The implied possessor of heart and spirits is the affected person. Chilling and drying are separate verbal claims, not the definition of tristitia.

tristitia · tristitiam discutit

Printed “tristitiam discutit” (Latin; lemma). Attestation: phrase.

Citation convention

Sadness or sorrow, the direct object of a claimed herbal action.

Context: The Mattioli-attributed margin claims a power for scorzonera; this is historical medical testimony, not present-day treatment guidance.

Source: original marginal quotation

Source wording, Original wording: sed per se accommodata radix tristitiam discutit, hilaritatemq; conciliat

Modern rendering: the root administered by itself also dispels sadness and brings cheerfulness

Word and construction: Tristitiam supplies sadness; discutit supplies dispels, and the other clause supplies cheerfulness.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Also is an English connective for the preceding not only/but construction; root and by itself are explicit in radix and per se.

tristitia as solemnity

Printed “severa tristitia” (Latin; phrase).

Printed form, Source wording, Original wording: severa tristitia

Citation convention

Stern solemnity or affected moral seriousness.

Context: Eumolpus in the Petronius margin describes a feigned reaction to amorous talk; the body uses it to criticize affected gravity.

Source: original marginal quotation

Modern rendering: stern solemnity

Alignment convention

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Stern renders severa; solemnity renders tristitia in this display of affected seriousness. Eumolpus’s pretence is established by the complete note.

tristitia de bonis alienis

Printed “Tristitia de bonis alienis” (Latin; phrase).

Printed form, Source wording, Original wording: Tristitia de bonis alienis

Citation convention

Sorrow at another’s good fortune, defining envy by its object.

Context: Burton extends the object to past, present or future good and contrasts compassion.

Source: original body

Modern rendering: sorrow at another’s good fortune

Alignment convention

Alignment convention

Supplied words note: Good fortune spells out substantival bonis, good things, and another’s renders alienis; no particular individual is supplied.

tristor

Printed “multi tristantur” (Latin; lemma). Attestation: phrase.

Printed form, Source wording, Original wording: multi tristantur

Citation convention

Become or be sad: tristantur is third-person plural present deponent; multi supplies the qualification many.

Context: Burton attributes the phrase to Vives and moves from post-festivity sadness to separation and bereavement.

Source: original body

Modern rendering: Many grow sad

Word and construction: Tristantur contributes grow sad, while multi contributes many; the preceding pleasures or festivities are contextual.

Alignment convention

Supplied words note: Many renders multi; becoming sad is expressed by tristantur. The after-feast circumstance comes from the surrounding sentence.

wine, mirth and grief

Printed “Vine causeth mirth and grief” (English; phrase).

Printed form, Source wording, Original wording: Vine causeth mirth and grief

Citation convention

Wine can bring either pleasure or sorrow in this qualification of its praised effects.

Context: Burton cites a poet, then distinguishes persons and historical constitutions. Excess is said to reverse benefit; the conclusion allows possible benefit only under stated conditions.

Source: original body

Modern rendering: The vine causes mirth and grief

Word and construction: The full causal clause is aligned; vine names its cause metonymically, while mirth and grief are different outcomes.

Alignment convention

Supplied words note: The definite article is supplied. The source prints Vine, retained by the modern, rather than silently changing it to wine.

worldly sorrow

Printed “Worldly sorrow” (English; phrase).

Citation convention

Sorrow belonging to worldly life, characterized as deadly in the scriptural quotation; later penitential sorrow has a different religious value.

Context: Burton quotes 2 Corinthians and places it among reported examples; later religious consolation values penitential sorrow.

Source: original body

Locator qualification: Do not remove bracketed or repeated-page qualifier.; This source group includes repeated printed 96–97 and supplied 98–99; see SUPPLIED_OPENING and SOURCE_DJR_040.

Source wording, Original wording: Worldly sorrow causeth death

Modern rendering: Worldly sorrow causes death

Alignment convention

Alignment convention

Supplied words note: Worldly and death are explicit. The causal claim belongs to the quoted scriptural sentence, not to the noun sorrow in every setting.

ærumna

Printed “ærumna” (Latin; lemma). Attestation: word form.

Citation convention

Distress or sorrow, personified as a woman tearing out her hair.

Context: The margin identifies the figure in Cebes’ allegorical picture; Burton uses it among images of anguish. It is a literary personification rather than an observed patient.

Source: original marginal quotation

Source wording, Original wording: Hæc quæ crines evellit, ærumna

Modern rendering: This woman tearing out her hair is Sorrow

Word and construction: Ærumna supplies Sorrow; the relative clause supplies the hair-tearing action.

Alignment convention

Edition note: checked against supplied editorial translation within Burton-labelled note; translation is not original Burton wording

Supplied words note: Woman is supplied from feminine hæc and the personification; is is supplied in the verbless identification.