The Other Gettysburg Address You Probably Haven't Heard Of

Image Composite: Edward Everett (Wikimedia Commons), Background (Wikimedia Commons)
Image Composite: Edward Everett (Wikimedia Commons), Background (Wikimedia Commons)

The greatest speech in American history had a tough act to follow.

On November 19, 1863, Abraham Lincoln delivered an address at the dedication of a new National Cemetery in Gettysburg, Pennsylvania. As the president offered some brief remarks before a war-weary crowd of around 15,000 people, he modestly said, “the world will little note, nor long remember what we say here.”

Lincoln was only half right about that. Despite his humble prediction, the president's Gettysburg Address has shown remarkable staying power over the past 155 years. The unifying oration has been engraved onto monuments, memorized by countless schoolchildren, and painstakingly dissected by every Civil War historian under the sun. It has even achieved international fame: Across the Atlantic, language from the speech was woven into the current constitution of France.

But at that gathering in Gettysburg, President Lincoln wasn’t the primary speaker. His immortal words were merely the follow-up to another speech—one that was meticulously researched and, at least by some accounts, brilliantly delivered. It was a professional triumph for a scholar and statesman named Edward Everett who had been hailed as the finest orator in America. Yet history has all but forgotten it.

DISTINGUISHED IN ACADEMIA—AND POLITICS

Everett was born in Massachusetts on April 11, 1794, and he was exceptional even as a young man. The son of a minister, Everett was admitted to Harvard University at 13 and graduated at 17. After studying to be a minister himself, and briefly serving as one, Everett's alma mater offered him a spot on its faculty. The position allowed time abroad in Europe, and Everett spent some of those years studying at the University of Göttingen in modern Germany, where he became the first American to earn a Ph.D. (U.S. schools didn’t offer that type of degree at the time). When he returned from Europe, Everett took up his post at Harvard.

For many people, landing a spot on Harvard’s payroll would be the achievement of a lifetime. But after Everett started teaching in 1819, he quickly found himself longing for a career change. In 1825, he ran for a seat in the U.S. House of Representatives. Elected as a conservative Whig, he served for a full decade before setting his sights on state politics. In 1835, Everett won the first of four one-year terms as the governor of Massachusetts. As governor, he revolutionized New England schools by spearheading the establishment of his state’s first board of education.

Like most politicians, Everett suffered his fair share of defeats. Due largely to his support of a controversial measure that limited alcohol sales, he was voted out of the governor’s mansion in 1839 (he lost by just one vote). But he soon got another shot at public service: In 1841, the John Tyler administration appointed Everett as the U.S. ambassador to Great Britain, a job that enabled him to play a major role in settling a Maine-New Brunswick border dispute that had created a great deal of tension between the two countries.

Academia beckoned once again in 1846, when Everett—after some coaxing—agreed to become the president of Harvard. Following his resignation in 1849, President Millard Fillmore appointed him Secretary of State. Everett subsequently bolstered his political resume with a one-year tenure in the U.S. Senate, resigning in 1854 after failing health caused him to miss a vote on the Kansas-Nebraska Act.

In the election of 1860, Everett found himself pitted against future president Abraham Lincoln. Without Everett's consent, the Constitutional Union Party—which favored ignoring the slavery issue to prevent a civil war—nominated him as its vice presidential candidate. The ex-Governor reluctantly accepted the nomination, believing that doing otherwise would cause too much damage to the ticket—but he flatly refused to campaign. Privately, he believed that the party had no chance, writing to a friend that June that his nomination was “of no great consequence; a mere ripple on the great wave of affairs.”

“A VOICE OF SUCH RICH TONES, SUCH PRECISE AND PERFECT UTTERANCE”

Something that was of great consequence, however, was Everett’s growing reputation as a first-rate public speaker. He'd taught Ralph Waldo Emerson at Harvard; in the budding philosopher’s words, Everett had “a voice of such rich tones, such precise and perfect utterance, that, although slightly nasal, it was the most mellow and beautiful, and correct of all the instruments of the time.” Everett's other celebrity fans included Thomas Jefferson, who praised a speech that Everett gave at Harvard on behalf of the visiting Marquis de Lafayette.

The American people grew well-acquainted with Everett’s oratory skills after he left the Senate. Once the war broke out, he started touring the northern states, making pro-Union speeches wherever he went. So when a Pennsylvania-led commission finished assembling a burial ground for the soldiers who’d fallen at Gettysburg, they naturally asked Edward Everett if he’d speak at the cemetery’s formal dedication in October 1863.

Everett received their official invite on September 23. His response was an enthusiastic yes, although he did request that the consecration date be pushed back to November 19 so he’d have time to research and gather his thoughts. The request was granted, and Everett got to work.

He began by going over every available account of the battle. From Union general George G. Meade’s staff, Everett received an official report on what had transpired. And when Robert E. Lee submitted his own account to the Richmond Inquirer, Everett went through it with a fine-toothed comb.

By November 11, Everett’s speech had begun to take shape. As a courtesy, he submitted an advance copy to another man who’d been asked to say a few words at Gettysburg: President Lincoln. The plan all along was for Everett to deliver a lengthy oration which would be followed by what one pamphlet described as “a few dedicatory remarks by the President of the United States.” Nobody expected the Commander-in-Chief to turn many heads with his brief comments. It was to be Everett’s show; Lincoln was an afterthought.

Everett traveled to Gettysburg on November 16, still constantly revising his notes. Since a large chunk of his speech would be dedicated to recounting the historic battle, he decided to familiarize himself with the terrain on which it was fought. Professor Michael Jacobs of Gettysburg College, an eyewitness to the battle, guided Everett through the hills and fields that surround the Pennsylvania town. Dead horses and soldiers still lay rotting where they’d fallen that summer. The whole town was polluted with their stench.

Lincoln arrived one night before he was to deliver his speech; both the president and Mr. Everett were given lodging at the home of event organizer David Wills. The next morning, the honored guests made their way towards the cemetery.

THE OTHER GETTYSBURG ADDRESS

The dedication began with some music, followed by a prayer that Reverend Thomas H. Stockton, a prominent anti-slavery cleric, delivered with trademark zeal. And then, Everett—his speech memorized in full—took the stage. Because the New Englander had weak kidneys, a tent had been placed behind the podium so that he might take a break and relieve himself during the speech if necessary.

“Standing beneath this serene sky,” he began, “overlooking these broad fields now reposing from the labors of the waning year, the mighty Alleghenies dimly towering before us, the graves of our brethren beneath our feet, it is with hesitation that I raise my poor voice to break the eloquent silence of God and nature.”

From there, Everett drew parallels between the cemetery’s consecration at Gettysburg and the reverence with which the ancient Athenians buried their fallen soldiers. His speech was loaded with historical references: As the address unfolded, Everett mentioned everything from the War of Roses to the fall of ancient Rome. He also quoted such great thinkers as Pericles and David Hume. He provided a detailed, point-by-point retelling of the battle at Gettysburg, denouncing the Confederacy, condemning the continued practice of slavery, and urging the north to strengthen its resolve. Still, Everett held firm to the belief that reconciliation between the two sides might still be possible. “There is no bitterness on the part of the masses,” he proclaimed. “The bonds that unite us as one people … are of perennial force and energy, while the causes of alienation are imaginary, factitious, and transient. The heart of the people, north and south, is for the Union.”

When Everett’s address came to a close, he had spoken more than 13,000 words over the course of two hours. B.B. French, a musician who’d penned a hymn for the occasion, later wrote, “Mr. Everett was listened to with breathless silence by all that immense crowd, and he had his audience in tears many times during his masterly effort.” The Philadelphia Age offered a more lukewarm review, stating “He gave us plenty of words, but no heart.” President Lincoln, however, loved the speech. In Everett’s diary, the orator remarks that when he stepped down, the president shook his hand “with great fervor and said, ‘I am more than gratified, I am grateful to you.’”

Those who remained in the audience were then treated to French’s hymn, as performed by the Baltimore Glee Club. And then, the president rose. Within three minutes, his speech of around 270 words (there’s some debate over its exact phrasing) was over and done with. According to one witness, “The extreme brevity of the address together with its abrupt close had so astonished the hearers that they stood transfixed. Had not Lincoln turned and moved towards his chair, the audience would very likely have remained voiceless for several moments more. Finally, there came applause.”

Everett knew a good speech when he heard one. One day after the consecration, he wrote to the president and asked for a copy of the little address. “I should be glad,” Everett wrote, “if I could flatter myself that I came as near to the central idea of the occasion in two hours as you did in two minutes.” James Speed, Attorney General from 1864 to 1866, would later recall that Lincoln treasured Everett’s kind words and said “he had never received a compliment he prized more highly.”

Lincoln was more than happy to offer up a copy of the speech—and to return the kind sentiments. “In our respective parts … you could not have been excused to make a short address, nor I a long one,” Lincoln told Everett. “I am pleased to know that, in your judgment, the little I did say was not entirely a failure.

“Of course,” he added, “I knew Mr. Everett would not fail.”

Why We Eat What We Eat On Thanksgiving

monkeybusinessimages/iStock via Getty Images
monkeybusinessimages/iStock via Getty Images

When Americans sit down with their families for Thanksgiving dinner, most of them will probably gorge themselves on the same traditional Thanksgiving menu, with turkey, cranberry sauce, stuffing, and pumpkin pie taking up the most real estate on the plates. How did these dishes become the national "what you eat on Thanksgiving" options, though?

Why do we eat turkey on Thanksgiving?

It's not necessarily because the pilgrims did it. Turkey may not have been on the menu at the 1621 celebration by the Pilgrims of Plymouth that is considered the first Thanksgiving (though some historians and fans of Virginia's Berkeley Plantation might quibble with the "first" part). There were definitely wild turkeys in the Plymouth area, though, as colonist William Bradford noted in his book Of Plymouth Plantation.

However, the best existing account of the Pilgrims' harvest feast comes from colonist Edward Winslow, the primary author of Mourt's Relation: A Journal of the Pilgrims at Plymouth. Winslow's first-hand account of the first Thanksgiving included no explicit mention of turkey. He does, however, mention the Pilgrims gathering wild fowl for the meal, although that could just as likely have meant ducks or geese.

When it comes to why we eat turkey on Thanksgiving today, it helps to know a bit about the history of the holiday. While the idea of giving thanks and celebrating the harvest was popular in certain parts of the country, it was by no means an annual national holiday until the 19th century. Presidents would occasionally declare a Thanksgiving Day celebration, but the holiday hadn't completely caught on nationwide. Many of these early celebrations included turkey; Alexander Hamilton once remarked, "No citizen of the U.S. shall refrain from turkey on Thanksgiving Day."

When Bradford's journals were reprinted in 1856 after being lost for at least half a century, they found a receptive audience with advocates who wanted Thanksgiving turned into a national holiday. Since Bradford wrote of how the colonists had hunted wild turkeys during the autumn of 1621 and since turkey is a uniquely North American (and scrumptious) bird, it gained traction as the Thanksgiving meal of choice for Americans after Lincoln declared Thanksgiving a national holiday in 1863.

Moreover, there were pragmatic reasons for eating turkey rather than, say, chicken at a feast like Thanksgiving. The birds are large enough that they can feed a table full of hungry family members, and unlike chickens or cows, they don't serve an additional purpose like laying eggs or making milk. Unlike pork, turkey wasn't so common that it seemed like an unsuitable choice for a special occasion, either.

Did the pilgrims have cranberry sauce?

While the cranberries the Pilgrims needed were probably easy to come by, making cranberry sauce requires sugar. Sugar was a rare luxury at the time of the first Thanksgiving, so while revelers may have eaten cranberries, it's unlikely that the feast featured the tasty sauce. What's more, it's not even entirely clear that cranberry sauce had been invented yet. It's not until 1663 that visitors to the area started commenting on a sweet sauce made of boiled cranberries that accompanied meat.

There's the same problem with potatoes. Neither sweet potatoes nor white potatoes were available to the colonists in 1621, so the Pilgrims definitely didn't feast on everyone's favorite tubers.

How about pumpkin pie?

It may be the flagship dessert at modern Thanksgiving dinners, but pumpkin pie didn't make an appearance at the first Thanksgiving. The Pilgrims probably lacked the butter and flour needed to make a pie crust, and it's not clear that they even had an oven in which they could have baked a pumpkin pie. That doesn't mean pumpkins weren't available for the meal, though; they were probably served after being baked in the coals of a fire or stewed. Pumpkin pie became a popular dish on 17th-century American tables, though, and it might have shown up for Thanksgiving as early as the 1623 celebration of the holiday.

This article originally appeared in 2008.

15 Colorful Facts About Georgia O’Keeffe

Georgia O’Keeffe’s enchanting floral still life paintings are now a deeply ingrained part of American culture—so much so that they often eclipse her other colorful accomplishments. For a more complete portrait of the artist, who was born on November 15, 1887, brush up on these 15 little-known facts about her.

1. Flower paintings make up a small percentage of Georgia O'Keeffe's body of work.

Though Georgia O'Keeffe is most famous for her lovingly rendered close-ups of flowers—like Black Iris and Oriental Poppies—these make up just about 200 of her 2000-plus paintings. The rest primarily depict landscapes, leaves, rocks, shells, and bones.

2. Georgia O'Keeffe rejected sexual interpretations of her paintings.

For decades, critics assumed that O'Keeffe's flowers were intended as homages—or at the very least, allusions—to the female form. But in 1943, she insisted that they had it all wrong, saying, “Well—I made you take time to look at what I saw and when you took time to really notice my flowers you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don’t.” So there.

3. Georgia O'Keeffe was not a native of the American Southwest.


Joe Raedle/Getty Images

O'Keeffe was actually born on a Wisconsin dairy farm. She'd go on to live in Chicago; New York City; New York’s Lake George; Charlottesville, Virginia; and Amarillo, Texas. She first visited New Mexico in 1917, and as she grew older, her trips there became more and more frequent. Following the death of her husband in 1946, she moved to New Mexico permanently.

4. Georgia O'Keeffe’s favorite studio was the backseat of a Model-A Ford.

In an interview with C-SPAN, Carolyn Kastner, former curator of the Georgia O'Keeffe Museum in Santa Fe, New Mexico, explained how the artist customized her car for this use: "She would remove the driver's seat. Then she would unbolt the passenger car, turn it around to face the back seat. Then she would lay the canvas on the back seat as an easel and paint inside her Model-A Ford."

Painting inside the car allowed O'Keeffe to stay out of the unrelenting desert sun, where she painted many of her later works. The Model-A also provided a barrier from the bees that would gather as the day wore on.

5. Georgia O'Keeffe also painted skyscrapers.

While nature was O'Keeffe's main source of inspiration, the time she spent in 1920s Manhattan spurred the creation of surreal efforts like New York With Moon, City Night, and The Shelton with Sunspots.

6. Georgia O'Keeffe immersed herself in nature.

While in New Mexico, O’Keeffe spent summers and falls at her Ghost Ranch, putting up with the region's hottest, most stifling days in order to capture its most vivid colors. (The rest of the year she stayed at her second home, located in the small town of Abiquiu.) When she wasn't painting in her Model-A, O'Keeffe often camped out in the harsh surrounding terrain, to keep close to the landscapes that inspired her.

7. Not even bad weather could keep Georgia O'Keeffe away from her work.

The artist would rig up tents from tarps, contend with unrelenting downpours, and paint with gloves on when it got too cold. She went camping well into her 70s and enjoyed a well-documented rafting trip with photographer Todd Webb at age 74. Her camping equipment is occasionally exhibited at the Georgia O'Keeffe Museum.

8. Georgia O'Keeffe married the man behind her first gallery show.

"At last, a woman on paper!" That’s what modernist photographer and gallery owner Alfred Stieglitz cried when he first saw O'Keeffe's abstract charcoal drawings. He was so enthusiastic about this series of sketches that he put them on display—before consulting their creator.

When O'Keeffe arrived at his gallery, she wasn't pleased, and brusquely introduced herself: "I am Georgia O'Keeffe and you will have to take these pictures down." Despite their rocky beginnings, Stieglitz and O'Keeffe quickly made amends, and went on to become partners in art and in life.

9. Georgia O'Keeffe and Alfred Stieglitz wrote 25,000 pages of love letters to each other.

When the pair met in 1916, Stieglitz was famous and married; she was unknown and 23 years his junior. All the same, they began writing to each other often (sometimes two or three times a day) and at length (as many as 40 pages at a time). These preserved writings chart the progression of their romance—from flirtation to affair to their marriage in 1924—and even document their marital struggles.

10. Georgia O'Keeffe served as a muse to other artists.

Thanks in part to Stieglitz, O'Keeffe was one of the most photographed women of the 20th century. Stieglitz made O'Keeffe the subject of a long-term series of portraits meant to capture individuals as they aged, and she made for a striking model. Though he died in 1946, the project lived on as other photographers sought out O'Keeffe in order to capture the beloved artist against the harsh New Mexican landscapes she loved so dearly.

O'Keeffe later wrote:

"When I look over the photographs Stieglitz took of me—some of them more than 60 years ago—I wonder who that person is. It is as if in my one life I have lived many lives. If the person in the photographs were living in this world today, she would be quite a different person—but it doesn't matter—Stieglitz photographed her then."

11. Georgia O'Keeffe quit painting—three times.

The first break spanned several years (the exact number is a matter of debate), when O'Keeffe took on more stable jobs to help her family through financial troubles. In the early 1930s, a nervous breakdown led to her hospitalization, and caused her to set aside her brushes for more than a year.

In the years leading up to her death in 1986, failing eyesight forced O'Keeffe to give up painting entirely. Until then, she fought hard to keep working, enlisting assistants to prepare her canvas and mix her oil paints for pieces like 1977's Sky Above Clouds/Yellow Horizon and Clouds. She managed to use watercolors until she was 95.

12. After going blind, Georgia O'Keeffe turned to sculpting.


By Alfred Stieglitz - Phillips, Public Domain, Wikimedia Commons

Although her vision eventually made painting impossible, O'Keeffe's desire to create was not squelched. She memorably declared, "I can see what I want to paint. The thing that makes you want to create is still there.” O'Keeffe began experimenting with clay sculpting in her late 80s, and continued with it into her 96th year.

13. Georgia O'Keeffe is the mother of American Modernism.

Searching for what she called “the Great American Thing,” O'Keeffe was part of the Stieglitz Circle, which included such lauded early modernists as Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, Paul Strand, and Edward Steichen. By the mid-1920s, she had become the first female painter to gain acclaim alongside her male contemporaries in New York's cutthroat art world. Her distinctive way of rendering nature in shapes and forms that made them seem simultaneously familiar and new earned her a reputation as a pioneer of the form.

14. Georgia O'Keeffe blazed new trails for female artists.

In 1946, O’Keeffe became the first woman to earn a retrospective at the Museum of Modern Art. Twenty-four years later, a Whitney Museum of American Art retrospective exhibit introduced her work to a new generation. Fifteen years after that, O'Keeffe was included in the inaugural slate of artists chosen to receive the newly founded National Medal of Arts for her contribution to American culture.

15. Georgia O'Keeffe wasn't fearless, but she rejected fear.

O'Keeffe was purported to have said, "I've been absolutely terrified every moment of my life and I've never let it keep me from doing a single thing I wanted to do."

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