The Lacnunga and white magic in Anglo Saxon healing practices

In the British Library lies a remarkable manuscript that shows the fascinating practices of Anglo-Saxon healers. The Lacnunga, a collection of nearly 200 remedies and prayers from the 10th century, is one of the most intriguing documents of early English medicine. Written in Old English and Latin, it combines Christian prayers, pagan spells, and herbal treatments.

Unlike other Anglo-Saxon medical texts, such as Bald’s Leechbook, which focus on logical and structured healing methods, the Lacnunga leans heavily on white magic as a key part of treatment. Although it initially aimed to follow an anatomical structure based on the Latin principle a capite ad calcem (“from head to toe”), this plan was abandoned, and the remedies appear in no particular order. They cover both practical concerns and spiritual ailments, showing the intertwined nature of the physical and supernatural in Anglo-Saxon thought.

Some charms focus on fertility, such as making barren land fruitful, while others address more unusual issues, including a spell “against a dwarf,” which might symbolize an illness or a spiritual affliction. There are also treatments for delayed childbirth and a condition known as the "water-elf disease" (wæterælfadle). This illness is described as causing pale fingernails, watery eyes, and a tendency to look downward. The text explains:

"Gif mon biþ on wæterælfadle, þonne beoþ him þa hand-næglas wonne and þa eagan tearige and wile locian niþer."
(Translation: "If someone has the water-elf disease, their fingernails are pale, their eyes are watery, and they look downward.")

Other entries include charms to calm swarms of bees, blessings to protect cattle from theft, and a travel blessing.

The Nine Herbs Charm

One of the most famous parts of the Lacnunga is the Nine Herbs Charm, also called the Nine Worts Galdor. Written in the 9th or 10th century, it is both a piece of Old English poetry and a guide to preparing a healing herbal remedy, often referred to as “nine-herb soup.” The charm has three main sections: an invocation to the herbs, a magical narrative, and the recipe itself. The charm is particularly notable as one of only two direct references to the god Wōden in Old English literature outside of royal genealogies. It's structure reveals a sophisticated understanding of both spiritual and practical healing. It describes illness through the metaphor of "onflygge" (on-flying), reminiscent of the concept of "elf-shot" found in other Old English healing charms. This suggests a worldview where sickness was understood as a spiritual attack.

The charm details an intricate ritual involving nine sacred herbs, each imbued with specific healing properties. What makes this text extraordinary is its direct address to the herbs themselves, treating them as warriors in a cosmic battle against illness. The herbs are called upon to draw forth their healing power through a carefully structured incantation. The nine herbs are mugwort, plantain, watercress, chamomile, nettle, crab-apple, chervil, fennel, and lamb’s cress and are known today for their medicinal properties.

In the first section, the nine herbs are praised for their healing powers. Each herb is addressed directly, with its qualities often described through poetic comparisons. For example, the plantain is celebrated for its resilience and ability to endure, which is then applied metaphorically to the patient’s recovery:

"Ond þu, wegbrade, wyrta modor, eastan openo, innan mihtigu; ofer ðe crætu curran, ofer ðe cwene reodan, ofer ðe bryde bryodedon, ofer þe fearras fnærdon. Eallum þu þon wiðstode and wiðstunedest; swa ðu wiðstonde attre and onflyge and þæm laðan þe geond lond fereð."
(Translation: "And you, Plantain, mother of herbs, eastward open, mighty within; carts passed over you, queens rode over you, brides cried over you, oxen snorted over you. You withstood and resisted them all; so may you withstand poison and infection and the hateful one who travels through the land.")

The second section of the charm shifts to a mythological story. It tells of how Wōden, the chief god of the Germanic pantheon, used nine wuldortanas (glory-twigs) to slay a serpent that had attacked a man. The serpent, or wyrm, was struck and split into nine parts, which then became sources of disease and poison in the world:

"Wyrm com snican, toslāt he man, ða genam Wōden VIIII wuldortānas, slōh ða næddran, þæt heo on VIIII tofleah."
(Translation: "A serpent came crawling and destroyed a man, then Wōden took nine glory-twigs, struck the adder so that it flew into nine parts.")

This part of the charm is often seen as a reflection of the sacred importance of the number nine, which appears repeatedly in Germanic mythology. Some scholars believe the wuldortanas were rune-carved wooden staffs, connecting this narrative to Wōden’s legendary discovery of the runes. Others argue for a simpler interpretation, pointing out that the text specifically refers to “twigs” rather than rune staves.

In the final section, the charm provides practical instructions for preparing the remedy. It explains how to mix the nine herbs into a salve, reciting the charm during the preparation and application to ensure the spiritual power of the words is infused into the medicine.

Pagan and Christian themes

The Nine Herbs Charm highlights the balance of pagan and Christian traditions in Anglo-Saxon healing. While it draws heavily on pre-Christian mythology, such as Wōden’s role in slaying the serpent, it also reflects the influence of Christian ideas, such as invoking Christ alongside references to nine adders, showcases the religious syncretism of Anglo-Saxon medicine. Rather than representing a clumsy attempt to Christianize a pagan text, these additions reflect the complex spiritual landscape of medieval England, where old and new beliefs often coexisted and merged in practical healing contexts.

The charm’s repeated references to the number nine also show its fascination with symbolic numerology. In Germanic tradition, nine represents completeness, as it is the square of three, itself a sacred number. This mystical significance of numbers is deeply woven into the charm, from the nine herbs to the serpent’s nine parts, reinforcing the idea that healing is tied to cosmic and spiritual order.

This blending of old Germanic magic with Christian influences shows how Anglo-Saxon culture adapted to new beliefs without immediately abandoning its past. The Nine Herbs Charm, as both a medical and spiritual guide, remains one of the most fascinating texts of medieval England.