THE ANATOMY OF MELANCHOLY PDF

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THE ANATOMY OF MELANCHOLY. MEMOIR OF THE AUTHOR. ROBERT BURTON was the son of Ralph Burton, of an ancient and genteel family at. Free site book and epub digitized and proofread by Project Gutenberg. The Anatomy of Melancholy. What it is, with all the kinds, causes, symptoms, prognostics, and several cures of it. In three Partitions, with their several Sections, .


The Anatomy Of Melancholy Pdf

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"The Anatomy of Mklancholt, wherein the author hath piled up variety of much exceller . "Burton's Anatomy or Melancholy, a book once the favourite of the. The Anatomy of Melancholy (full title: The Anatomy of Melancholy, What it is: With all the Kinds, . Create a book · Download as PDF · Printable version. The Anatomy of Melancholy, written by Robert Burton in , is probably the most fantastical book that you haven't read. It's right up there with Finnegan's.

This Melancholy of which we are to treat, is a habit, a serious ailment, a settled humour , as Aurelianus and others call it, not errant, but fixed: and as it was long increasing, so, now being pleasant or painful grown to a habit, it will hardly be removed.

In attacking his stated subject, Burton drew from nearly every science of his day, including psychology and physiology , but also astronomy , meteorology , and theology , and even astrology and demonology.

Much of the book consists of quotations from various ancient and medieval medical authorities, beginning with Hippocrates , Aristotle , and Galen. Hence the Anatomy is filled with more or less pertinent references to the works of others.

The Anatomy of Melancholy

A competent Latinist, Burton also included a great deal of Latin poetry in the Anatomy, and many of his inclusions from ancient sources are left untranslated in the text. The Anatomy of Melancholy is an especially lengthy book, the first edition being a single quarto volume nearly pages long; subsequent editions were even longer.

The text is divided into three major sections plus an introduction, the whole written in Burton's sprawling style. In fact, the Anatomy uses melancholy as the lens through which all human emotion and thought may be scrutinized, and virtually the entire contents of a 17th-century library are marshalled into service of this goal.

In his satirical preface to the reader, Burton's persona and pseudonym "Democritus Junior" explains, "I write of melancholy by being busy to avoid melancholy. Both satirical and serious in tone, the Anatomy is "vitalized by Burton's pervading humour", [2] and Burton's digressive and inclusive style, often verging on a stream of consciousness , consistently informs and animates the text. Burton was an obsessive rewriter of his work and published five revised and expanded editions of The Anatomy of Melancholy during his lifetime.

It has often been out of print, most notably between and Melancholy , the subject of our present discourse, is either in disposition or in habit. In disposition, is that transitory Melancholy which goes and comes upon every small occasion of sorrow, need, sickness, trouble, fear, grief, passion, or perturbation of the mind, any manner of care, discontent, or thought, which causes anguish, dulness, heaviness and vexation of spirit, any ways opposite to pleasure, mirth, joy, delight, causing forwardness in us, or a dislike.

In which equivocal and improper sense, we call him melancholy, that is dull, sad, sour, lumpish, ill-disposed, solitary, any way moved, or displeased. And from these melancholy dispositions no man living is free, no Stoic, none so wise, none so happy, none so patient, so generous, so godly, so divine, that can vindicate himself; so well-composed, but more or less, some time or other, he feels the smart of it.

Melancholy in this sense is the character of Mortality This Melancholy of which we are to treat, is a habit, a serious ailment, a settled humour , as Aurelianus and others call it, not errant, but fixed: In attacking his stated subject, Burton drew from nearly every science of his day, including psychology and physiology , but also astronomy , meteorology , and theology , and even astrology and demonology.

Much of the book consists of quotations from various ancient and medieval medical authorities, beginning with Hippocrates , Aristotle , and Galen. The human and animal bodies lead to the same place. It is also necessary to face the hypothesis that this is because the melancholic subject is constituted based on his humors, the functioning of his body and not his spirit.

The sadness of melancholy reverberates from the body, the command of his intellectual state depends on his spleen and his liver much more than on any other organ closer to the spirit. He is saved.

If the former flows into the scientific- mathematic subject, the other flows into the melancholic subject. If we can characterize a method as scientific and Cartesian from the exposure to the famous four rules, how can we characterize a method as melancholic? What would a melancholic method be? It is not simply a question of establishing a science of melancholy, or a scientific method that is able to dissect melancholy, but of knowing what is the difference between the scientific dissection proposed by Descartes and the melancholic dissection proposed by Burton.

If the method is the subject in both, however, the question about the limits and definitions of this subjectivity remains unanswered. But , what is the Cartesian subject and what is the Burtonian subject, the mathematical and the melancholic one?

What are their differences and similitudes? The difference between melancholic and scientific method must be in the relationship with the body.

The Anatomy of Melancholy by Robert Burton

And, therefore in the way one understands the separation between soul and body. At the level of a text, this separation appears as a disjunction between content and form. This appearance of emptiness occurs through the negative way of filling, such is the character of collected writings, the exhaustive and fatiguing and almost enervating gathering of information, of names and quotations that constitute the book from its preface to the end.

At first sight it is a rather encyclopedic text, a list, a specialized index. It is as though Robert Burton had nothing to say.

He does not hide, rather he opens this condition wide up, saying of himself that he is a thief Burton, Anatomy , or a dwarf on the shoulders of a giant Burton, Anatomy , like so many writers. That right in the modern period, he conceives knowledge as an acknowledgement of the authority of the ancients, reaffirming a medieval principle, places on the scene not only the backward vision of a scholastic thinker, lost in his time, but the situation of a subject that presents himself and this characteristic makes him moder , as an empty subject, for which nothing is left except the 2 The epideictic style, in Aristotle, provides the mode of the demonstrative discourse Rhetoric, b.

See bilingual critical edition of the Centro de Estudios Constitucionales, Madrid, , oriented towards a common listener See G.

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Vol II After Aristotle, the style due to his specific character was treated as the study of grammar and abandoned by philosophy and by the Roman rectors who did not consider it important for practical eloquence.

The character of ornamentation was the protagonist of this abandonment. If in Aristotle, the deliberative style serves to advise what is useful and the judiciary claims what is fair, while the epideictic must occupy itself with what is beautiful and ugly, in order to praise or criticize, we are looking at the recognition of the values that each of these discourses must proclaim. Absent the judgment of value and the intensity of adhesion, the theoreticians of discourse mix the idea of what is beautiful and good, the object of the discourse, with the idea of the esthetic value of the discourse itself.

It is thus that the epideictic style will attach itself more to literature than to argumentation. This style was misunderstood, and was removed from philosophy and considered minor in the art of persuading.

To him rhetoric will be the place for expression, certainly he refers to the epideictic style. His emptiness is eternally confirmed, he can only seek to fill it out in the books.

Burton is, thus, the reader, an exhaustive reader of all books available. He writes for a reader, however, certain that he will be read, in the hope of being recognized.

But he is also the reader himself, the archetypical reader who gives himself the work of performing the compilation. Is he writing for another or also for himself?

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This sending, this addressing, is an important instant of all writing. Burton is the writer, but the writer is Democritus Junior, a character through which he introduces himself and behind whom he hides. This condition of personae is important. Burton begins his preface to the book Democritus Junior to the Reader speaking about him and almost apologizing for introducing such an ancient personage, and in such an insolent manner in the scene of the vision of a world that he is to present Burton, Anatomy At no time in the preface does he say that he is Robert Burton, but he states that Democritus Junior is a mask.

Despite this parentage, he says that he is a free subject and that he can choose what he wants to say.The anatomy of melancholy , Tudor in English. Burton is, thus, the reader, an exhaustive reader of all books available.

The anatomy of melancholy

That is why there are about 1, pages in this edition, why the only other edition, from Clarendon Press, runs to three volumes it also costs a bomb compared to this and is, anyway, out of print , and why Burton never, strictly speaking, finished it: there was always something else to go in.

From Wikipedia, the free encyclopedia.

Burton prepares a constellation. At no time in the preface does he say that he is Robert Burton, but he states that Democritus Junior is a mask.

Democritus Junior imitates him Burton, Anatomy In what sense may books or written documents be redeemers of the body and the soul, of the subject as such , is the general background question that organizes these statements.

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