Abraham Lincoln was six feet, four inches tall, making him the tallest of U.S. presidents (LBJ was half an inch shorter). The crown of his trademark top hat – a stovepipe, it was called -- measured twelve inches in height. Allowing for the silk hat settling on his head, the hatted president would have been nearly seven feet tall. Historians calculate that the average height of a Civil War soldier was five feet eight.
The hat Lincoln wore to Ford’s Theater is now in the National Museum of American
History in Washington, D.C. Lincoln added the black silk mourning band after
the death of his youngest son, Willie, in 1862. In “Lincoln’s Hat,” the
American poet Herbert Morris (1928-2001) begins by disparaging biography if we’re
looking for insights into a historical figure (or perhaps anyone). It “will be to
no avail / none whatever.” Rather:
“Look,
instead, to the edges, to the borders,
where a
thing is itself but something more
(always
somehow becoming something more),
to the
peripheral, the inadvertent,
something no
doubt at first glance partly missed,
or wholly
missed, in our hunger to search
that face
for clues, to take that map of anguish
(slowly,
carefully) in one’s hands and read it . . .”
Look for insights in Lincoln’s “borders”; for example, “perhaps, the hat, / that hat by which,
two blocks away, a stranger / might know, gait aside, who it was approaching.”
Morris weaves into his poem a letter a child might have written to Lincoln. She
asks why he wears such a hat, “which seems to all but hide your face beneath it,”
and adds:
“My three
little brothers, Momma and me
are of one
mind in this--we take true pride
in you as
President. You are a good man.
Yrs. truly.
[P. S. Momma says to tell you
Poppa is
fighting with the Union forces
at
Petersburg and he thinks likewise too.]
We remember
you each night in our prayers.”
Herbert
includes no reply from the president. As usual, his blank verse recalls Henry
James’ late prose, as in The American Scene (1906). The style is halting, endlessly qualifying, as though revealing the effort it takes to articulate the speaker’s thought. The final
section of the poem’s 124 lines is grim, with Willie’s death, Mary Todd Lincoln’s
torment and the ever-growing list of war
casualties:
‘. . .
muttering to herself,
to him, of
the frightful burden of evil
in the
world, o the weight of it, of darkness
falling,
falling, forever falling, of how
no grief, no
mourning, none, proves quite sufficient,
ever, to
match the sum of all the losses,
those
suffered yesterday and, worse, much worse,
losses yet
to be suffered, still to come).
The
blackness rises, rises slowly, straight up,
undermining
those definitions, rising,
having to do
with inadvertence, edges,
borders,
peripheries, those preconceptions
we carried
here with us, making us question
what part,
biographer, is hat, pure hat,
pure real
but imagined hat, what part,
rising,
rising, immense, blacker than black
(more than
one knows what to do with), is Lincoln.”
His law
partner and biographer, William H. Herndon, wrote that Lincoln was “a curious –
mysterious – quite an incomprehensible man.”
[Morris
published “Lincoln’s Hat” in the Winter 1987 issue of The Hudson Review and collected it in The Little Voices of the Pears (1989).]
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