The Old English Herbals — Story, Setting & Ideas

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In Category - Field Botany
Rohde, Eleanour Sinclair Project Gutenberg 2010 Not confirmed
Botany -- Great Britain -- History; Botanical literature; Herbs -- Bibliography; Herbals Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 90,823
Reading time 395 min
Text sections 14

Before opening The Old English Herbals — Story, Setting & Ideas, the edition data offers a quick orientation: 90,823 words, 6 hr 35 min estimated reading time, and 14 detected text sections.

The text analysis averages about 21.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Botany -- Great Britain -- History,” connecting these edition facts with the source record’s subject description.

An examination of how Eleanour Sinclair Rohde's study of Old English herbals uses its opening, middle, and later excerpts to guide a first reading, focusing on the author's method of blending historical narrative with botanical detail.
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Read the Text

earful eyes, and would look downwards. Amongst the herbs to be administered when the charm was sung over him were a yew-berry, lupin, helenium, marsh mallow, dock elder, wormwood and strawberry leaves.

Goblins and nightmare were regarded as at least akin to elves, and we find the same herbs were to be used against them, betony being of peculiar efficacy against "monstrous nocturnal visions and against frightful visions and dreams."[14] The malicious elves did not confine their attacks to human beings; references to elf-shot cattle are numerous. I quote the following from the chapter "against elf disease."

"For that ilk [_i. e._ for one who is elf-shot].

"Go on Thursday evening when the sun is set where thou knowest that helenium stands, then sing the Benedicite and Pater Noster and a litany and stick thy knife into the wort, make it stick fast and go away; go again when day and night just divide; at the same period go first to church and cross thyself and commend thyself to God; then go in silence and, though anything soever of an awful sort or man meet thee, say not thou to him any word ere thou come to the wort which on the evening before thou markedst; then sing the Benedicite and the Pater Noster and a litany, delve up the wort, let the knife stick in it; go again as quickly as thou art able to church and let it lie under the altar with the knife; let it lie till the sun be up, wash it afterwards, and make into a drink with bishopwort and lichen off a crucifix; boil in milk thrice, thrice pour holy water upon it and sing over it the Pater Noster, the Credo and the Gloria in Excelsis Deo, and sing upon it a litany and score with a sword round about it on three sides a cross, and then after that let the man drink the wort; Soon it will be well with him."--_Leech Book_, III. 62.

The instructions for a horse or cattle that are elf-shot runs thus:--

"If a horse or other neat be elf-shot take sorrel-seed or Scotch wax, let a man sing twelve Masses over it and put holy water on the horse or on whatsoever neat it be; have the worts always with thee. For the same take the eye of a broken needle, give the horse a prick with it, no harm shall come."--_Leech Book of Bald_, I. 88.

Another prescription for an elf-shot horse runs thus:--

"If a horse be elf-shot, then take the knife of which the haft is the horn of a fallow ox and on which are three brass nails, then write upon the horse's forehead Christ's mark and on each of the limbs which thou mayst feel at: then take the left ear, prick a hole in it in silence, this thou shalt do; then strike the horse on the back, then will it be whole.--And write upon the handle of the knife these words--

"Benedicite omnia opera Domini dominum.

"Be the elf what it may, this is mighty for him to amend."--_Leech Book of Bald_, I. 65.[15]

Closely allied to the doctrine of the elf-shot is that of "flying venom." It is, of course, possible to regard the phrase as the graphic Anglo-Saxon way of describing infectious diseases; but the various synonymous phrases, "the on-flying things," "the loathed things that rove through the land," suggest something of more malignant activity. As a recent leading article in _The Times_ shows, we are as a matter of fact not much wiser than our Saxon ancestors as to the origin of an epidemic such as influenza.[16] Indeed, to talk of "catching" a cold or any infectious disease would have struck an Anglo-Saxon as ludicrous, mankind being rather the victims of "flying venom." In the alliterative lay in the _Lacnunga_, part of which is given below, the wind is described as blowing these venoms, which produced disease in the bodies on which they lighted, their evil effects being subsequently blown away by the magician's song and the efficacy of salt and water and herbs. This is generally supposed to be in its origin a heathen lay of great antiquity preserved down to Christian times, when allusions to the new religion were inserted. It is written in the Wessex dialect and is believed to be of the tenth century, but it is undoubtedly a reminiscence of some far older lay. The lay or charm is in praise of nine sacred herbs (one a tree)--mugwort, waybroad (plantain), stime (watercress), atterlothe (?), maythen (camomile), wergulu (nettle), crab apple, chervil and fennel.

Rohde begins her study not with a dry list of botanical authorities but with a vivid frontispiece description of a twelfth-century manuscript illustration showing herbs being dug up and made into medicines under a sage's direction. This image sets the tone for a work that treats herbals as living documents of cultural exchange. The preface immediately establishes her reliance on manuscript evidence and the kindness of librarians and scholars, signaling that the book is built on primary sources rather than secondary summaries.

The Author's Approach to Evidence

Rohde's method is evident from the first chapter: she weaves together quotations from herbals with contextual remarks about the scribes, translators, and readers. For instance, she reproduces the Saxon translation of the Herbarium of Apuleius alongside a woodcut of the lily, noting that the text describes the flower as having a white bloom with a golden likeness within. This juxtaposition of word and image is a recurring structural device. She does not simply list plants; she shows how each herbal reflects the medical and magical beliefs of its time. The reader is encouraged to notice how Rohde uses the herbals themselves as primary evidence, often letting the original authors speak in their own words.

The Role of the Middle Excerpts

In the middle of the work, Rohde turns to the sixteenth-century Spanish physician Monardes, whose accounts of New World plants provide a striking contrast to earlier Anglo-Saxon remedies. Here the text shifts from describing local English herbs to detailing how guiacum and mechoacan were introduced to Europe through indigenous knowledge. Rohde quotes Monardes at length, including his story of an Indian doctor curing a Spanish warden with a root powder. This section demonstrates how herbals served as records of cross-cultural encounter, not just botanical lists. The reader should observe how Rohde balances the exotic with the familiar, using Monardes to show that the herbal tradition was always global.

Recurring Details and Structural Patterns

Throughout the book, Rohde returns to certain motifs: the importance of illustrations, the role of monasteries in preserving texts, and the gradual shift from magical to empirical medicine. She frequently notes the physical appearance of manuscripts—their size, script, and marginalia—as clues to their use. For example, she points out that some herbals contain astronomical symbols and Greek transliterations, indicating a learned audience. These recurring details are not random; they build a picture of how herbals were produced and consumed. A first-time reader should watch for these patterns, as they reveal Rohde's argument that herbals are not merely reference works but cultural artifacts.

Guidance for Navigating the Text

Because The Old English Herbals is organized chronologically, from Anglo-Saxon manuscripts to seventeenth-century printed books, a reader unfamiliar with the period may benefit from noting the dates and places of each herbal's origin. Rohde often provides brief biographies of authors like John Gerard or Nicholas Culpeper, but she assumes some prior knowledge of English history. The excerpts show that she expects the reader to follow her from one century to the next without extensive recapitulation. Pay attention to the footnotes and the bibliography, which are rich with references to specific manuscripts and editions. These are not mere citations but invitations to explore the primary sources further.

Rohde's work is best approached as a guided tour through a library of rare books. The reader who lingers on the quoted passages and examines the illustrations will gain more than one who skims for facts. The book rewards patience and a willingness to see herbals as windows into a vanished world of belief and practice.

I think of The Old English Herbals as a careful guide, leading us through the practical beauty of plants with quiet patience. It shares a kinship with Among the Trees at Elmridge — Reading Notes, where each leaf and branch feels like an old friend greeted again. Both read like hushed, wandering conversations with nature itself, never rushed, always tender.

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