Veronica Wedgwood - Career

Career

Wedgwood published her first biography, Strafford, at the age of 25 and The Thirty Years War, "her big book ... covering a large canvas", according to Rowse, just three years later, a work Patrick Leigh Fermor called "y far the best and most exciting book on the whole period".

She specialized in European history of the sixteenth and seventeenth centuries. Her work in continental European history including the major study The Thirty Years War (1938) and a biographies of William the Silent and Cardinal Richelieu. She devoted the greater part of her research to English history, especially in the English Civil War. Her major works included a biography of Oliver Cromwell and two volumes of a planned trilogy, The Great Rebellion, which included The King's Peace (1955), The King's War (1958). She continued the story with The Trial of Charles I (1964). She was known to walk battlefields and experience the same weather and field conditions as the subjects of her histories, mindful that Cromwell had no military experience and most participants in the English Civil War were "talented amateurs" when it came to military maneuvers. The subject was one of great controversy and rival schools of historical interpretations, but she held herself apart, "probably put off by the sheer scholasticism into which the treatment of the subject had degenerated, the rudeness with which academics treated each other over it, when she herself was always courteous and lady-like." Instead, "what was remarkable about Wedgwood's view of the Civil War was the way in which she depicted the sheer confusion of it all, the impossibility of co-ordinating events in three countries, once order from the centre had broken down.

William the Silent (1944), Rowse wrote, "displayed not only a mastery of research but maturity of judgement, with a literary capacity not common in academic writing. She wrote indeed to be read, and not surprisingly the book began for her a long procession of prizes and honours...." The New York Times singled it out as a landmark: "Miracles do happen. A generation ago the young English woman historian was often tethered to a dry theme until she had nibbled it bald. Today she dares much more to select a major subject", and praised her scholarship for balancing complex details with human drama: "Miss Wedgwood has not faltered before the intricacy or magnitude of this checkered struggle, and hers is a glowing, substantial, ingeniously organized book."

Thirty years after she published a biography of Thomas Wentworth, Earl of Strafford, she published a much-revised version that was considerably more critical of her subject. In the earlier version she called him a "sincere, brave and able man". After using a collection of his family's papers that had not been available before, she deemed him greedy and unscrupulous.

She was well regarded in academic circles and her books were widely read. She was also successful as a lecturer and broadcaster. In 1953 the BBC invited her to present her impressions of the coronation of Queen Elizabeth II. She was a Special Lecturer at University College London from 1962 to 1991. According to the Economist, she "had a novelist's talent for entering into the character of the giants of history." She published using her initials C.V. as a nom de plume to disguise her gender, aware of prejudice against women as serious historians. She wrote as well about the historian's responsibility to do more than analyze or describe. Rather than pose as a disinterested observer, she wrote: "Historians should always draw morals." She offered her own alternative to the neatness provided by theory: "he whole value of the study of history is for me its delightful undermining of certainty, its cumulative insistence of the differences of point of view ... it is not lack of prejudice which makes for dull history, but lack of passion."

George Steiner, complaining that "uch of what passes for history at present is scarcely literate", set Wedgwood apart:

One of the few contemporary historians prepared to defend openly the poetic nature of all historical imagining is C.V. Wedgwood. She fully concedes that all style brings with it the possibility of distortion: "There is no literary style which may not at some point take away something from the ascertainable outline of truth, which it is the task of scholarship to excavate and re-establish."

She acknowledged that contemporary concerns affected her historical assessments. In the 1957 introduction to a new release of The Thirty Years War, which first appeared in 1938, she wrote: "I wrote this book in the thirties, against the background of depression at home and mounting tension abroad. The preoccupations of that unhappy time cast their shadows over its pages." She replied to critics of her attention to biography and the role of the individual in history:

The individual—stupendous and beautiful paradox—is at once infinitesimal dust and the cause of all things.... I prefer this overestimate to the opposite method which treats developments as though they were the massive anonymous waves of an inhuman sea or pulverizes the fallible surviving records of human life into the grey dust of statistics.

By 1966 her reputation and notoriety was sufficient to allow the authors of a study of The Nature of Narrative to invoke her name in reference the tradition of historical scholarship: "... medieval traditional poetic narratives contained allusions to verifiable historical events their history was not such as Tacitus, Bede, or C.V. Wedgwood might have written."

In 1946 she translated Elias Canetti's Die Blendung, as Auto-da-Fé, under the author's supervision, though a modern scholar who considers Wedgwood's work on it "ordinarily quite excellent" doubts Canetti reviewed it in detail. He suspects she hesitated to present discussions of misogyny and antisemitism quite openly.

Her book The Last of the Radicals (1951), was about her uncle Josiah Wedgwood, 1st Baron Wedgwood. She completed just one volume of her planned Short History of the World (1985) before illness prevented her from continuing the project.

Her essays, many later published in small collections, appeared originally in Time and Tide where she held editor posts from 1944 to 1952, and in the Times Literary Supplement, the Spectator, and other periodicals. Garrett Mattingly praised the essays in Truth and Opinion (1960) for "displaying (or concealing, rather, but always molded and controlled by) that exquisite sense of form, in a medium apparently almost formless, which is the first-rate essayist's most precious gift."