ABSTRACT
The hostage as guarantee is a widespread if not universal practice in human history and was a regular instrument of diplomatic policy in the Roman Empire.1 Kosto notes that hostages feature in nearly every major politicomilitary development or event between the fifth and fifteenth centuries although, as he observes, sources for the seventh century are ‘famously sparse’ and largely restricted to the work of Gregory of Tours.2 Aldhelm’s single reference to an obses, however, is not found in a work of history but in the dedication of a lengthy poetic work known simply as the Carmen rhythmicum.3 This presents a unique, late seventh-century reference to hostageship and one which has not hitherto received attention. The context here is, however, one which can only be explored through the words of this complex, obscure literary text. Ostensibly a non-historical source, a closer examination of the figurative use of Aldhelm’s words set against his distinctive late seventh-century literary milieu throws unexpected light onto the geographical, political and not least the diplomatic underpinning which prompted the composition of a work designed for public recitation. As the subject of his dedication, Aldhelm’s obses may thus be understood as one of Aldhelm’s high-status colleagues, one who is designated his casses obses, his ‘helmet hostage.’
