In writing The Anatomy of Melancholy Robert Burton was working within the system of classical rhetoric as revived in the Renaissance, specifically the epideictic genus. A juxtaposition of the topics, arguments, and tripartite form employed by Burton with the treatment of epideictic in Aristotle's Rhetoric, as well as with aspects of the Roman and Hellenistic rhetorical traditions, shows how Burton has playfully adapted Renaissance conceptions of epideictic rhetoric for encyclopaedic, satirical, and self-expressive purposes. The function of rhetoric in the Anatomy is both to 'dissect' the corpus of knowledge about melancholy and to 'show forth' the author's own melancholic condition. he whose eloquence is like to some great torrent that rolls down rocks and 'disdains a bridge' and carves out its own banks for itself, will sweep the judge from his feet, struggle as he may, and force him to go whither he bears him. This is the orator that will call the dead to life. Quintilian, Institutio oratoria, 12.10.61 'tis not my study or intent to compose neatly, which an Orator requires, but to expresse my selfe readily & plainely as it happens. So that as a River runnes sometimes precipitate and swift, then dull and slow; now as the present subject required, or as at that time I was affected. "Democritus Junior to the Reader", Anatomy of Melancholy, 1.18.6-12.1 lrThe research for this article was undertaken with the support of the British Academy Arts and Humanities Research Board. I would like to thank Quentin Skinner for his guidance and encouragement, as well as for reading drafts of this paper. I am also most grateful to Cathy Curtis, Peter Burke and Christopher Swales for their helpful comments and criticisms; any inaccuracies that remain are my own. All references to the Anatomy are to the recent critical edition unless stated otherwise: Robert Burton, The
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