Four hundred years of melancholy—why Robert Burton’s masterpiece speaks to our pandemic age

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From Prospect:

It has become increasingly difficult to ignore our great capacity for experiencing and describing psychological pain. To many observers across the globe, mental illnesses and disorders are now alarmingly prevalent, and talk of crises, unprecedented surges and epidemics has become widespread amongst clinical experts and in the media. Living through a viral pandemic and enforced lockdowns has further concentrated attention on mental wellbeing. Conversations about emotional health proliferate. As with the cliché about the Eskimo words for snow, our abundant vocabulary testifies to the variety and intractability of our disturbances, and also to our enduring need to work through them with language.

This phenomenon has deep roots. Sadness, anxiety, lethargy, dejection, discontentment, torpor, perplexity, horror, shame, suspicion, anguish, diffidence, weariness, languishing, misanthropy, despair: such emotions and dispositions live in our present, but they have long been observed in human nature. Four hundred years ago, surveying a world that had evidently succumbed to similar debilitating passions, the Oxford scholar Robert Burton declared an epidemic of melancholy. In his view, melancholy had become “a disease so frequent… in our miserable times, as few there are that feel not the smart of it.” For Burton, who himself suffered from melancholy, the condition was then “so grievous” and “so common,” that he felt compelled to “show the causes, symptoms and several cures” of “so universal a malady, an Epidemical disease, that so often, so much crucifies the body and mind.”

The result was The Anatomy of Melancholy, unquestionably the greatest work on this subject in English literature. It is a book that guides its reader through the territory with wit, compassion and curiosity. Its many admirers over the centuries have included John Milton, Samuel Johnson, John Keats, Laurence Sterne, George Eliot, Virginia Woolf, Dorothy Sayers, Samuel Beckett, Jorge Luis Borges, Philip Pullman, Patrick Keiller and Nick Cave.

As befits its subject matter, the Anatomy is enormous. By the time of the sixth edition, published posthumously in 1651, Burton’s sprawling masterpiece had expanded to more than half a million words. It also included over 13,000 quotations, drawn from learned and popular sources stretching back to antiquity, illustrating and lamenting our psychological dispositions, self-destructive passions and moral pathologies, surveying the causes and consequences of our curious susceptibility to melancholy, and offering a bewildering range of possible cures.

Anyone encountering Burton’s book for the first time today will be struck by its idiosyncrasies. It is both serious and humorous. The main subject is medical, but the subtitle signals that melancholy will also be treated “philosophically and historically.” It opens with an extended satire, in which the laughing (possibly unhinged?) philosopher Democritus Junior ridicules the madness of the world. He doesn’t spare the reader: “Thou thyself art the subject of my discourse.” The main treatise then applies the structure of medical pathology—kinds, causes, symptoms, prognostics, cures—to different forms of melancholy. This structure, however, incorporates a variety of different kinds of writing, including poetry, history, moral philosophy, theology, geography, astrology and mythology. Despite attempts to assign the book to a specific genre, it resists categorisation.

Burton’s personality is stamped on every page, in prose that is eccentric and unmistakable: conversational, expansive, expressive and frequently digressive. Many sentences end only with an “et cetera,” suggesting that more could always follow—and in later editions often did. The text is punctuated with splenetic outbursts (especially against Burton’s pet hate, the idle aristocracy), but these are often accompanied by self-doubt and self-reproach: “Thou canst not think worse of me than I do of myself.”

Link to the rest at Prospect

2 thoughts on “Four hundred years of melancholy—why Robert Burton’s masterpiece speaks to our pandemic age”

    • When someone writes a piece with “melancholy” in the title, you probably need to be ready for some heavy thoughts, D. 😉

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