The internet’s renewed interest in my previous post, Hamilton and Literary Terms, focusing on literary devices within the musical Hamilton, has inspired me to delve deeper. It seems there’s a genuine appetite for understanding the intricate literary techniques woven into Lin-Manuel Miranda’s groundbreaking work, particularly within the opening number, “Alexander Hamilton.” As an English teacher with a passion for both Hamilton and literary analysis, I’m excited to offer a more comprehensive exploration of this song. Consider this an expanded resource for anyone seeking to unpack the lyrical genius of Hamilton, especially for educational lesson plans. While this is a labor of love and not a paid endeavor, I aim to provide insightful observations into the rich tapestry of literary devices present in just this single, powerful song.
“Alexander Hamilton” Lyrics Analysis
How does a bastard, orphan, son of a whore
And a Scotsman, dropped in the middle of a forgotten spot in the Caribbean by Providence, impoverished,
In squalor, grow up to be a hero and a scholar?
5 The ten-dollar Founding Father without a father
Got a lot farther by working a lot harder
By being a lot smarter, by being a self-starter
By fourteen, they placed him in charge of a trading charter.
And every day while slaves were being slaughtered and carted away
10 Across the waves, he struggled and kept his guard up.
Inside, he was longing for something to be a part of.
The brother was ready to beg, steal, borrow, or barter.
Then a hurricane came, and devastation reigned.
Our man saw his future drip, dripping down the drain.
15 Put a pencil to his temple, connected it to his brain,
And he wrote his first refrain, a testament to his pain.
Well, the word got around, they said, “This kid is insane, man!”
Took up a collection just to send him to the mainland.
Get your education, don’t forget from whence you came,
20 And the world is gonna know your name. What’s your name, man?
Alexander Hamilton,
My name is Alexander Hamilton,
And there’s a million things I haven’t done,
25 But just you wait, just you wait.
When he was ten his father split, full of it, debt-ridden
Two years later, see Alex and his mother bed-ridden
Half-dead sittin’ in their own sick, the scent thick.
And Alex got better, but his mother went quick.
30 Moved in with a cousin, the cousin committed suicide,
Left him with nothin’ but ruined pride, something new inside,
A voice saying, “Alex, you gotta fend for yourself.”
He started retreatin’ and readin’ every treatise on the shelf.
There would have been nothin’ left to do for someone less astute.
35 He woulda been dead or destitute without a cent of restitution.
Started workin’, clerkin’ for his late mother’s landlord,
Tradin’ sugar cane and rum and all the things he can’t afford.
Scammin’ for every book he can get his hands on,
Plannin’ for the future see him now as he stands on
40 The bow of a ship headed for a new land. In New York you can be a new man!
In New York you can be a new man. (Just you wait)
In New York you can be a new man. (Just you wait)
In New York you can be a new man.
45 In New York (New York) Just you wait!
Alexander Hamilton,
We are waiting in the wings for you.
You could never back down.
50 You never learned to take your time.
Oh, Alexander Hamilton,
When America sings for you,
Will they know what you overcame?
Will they know you rewrote your game?
55 The world will never be the same. Oh,
The ship is in the harbor now! See if you can spot him.
Another immigrant comin’ up from the bottom.
His enemies destroyed his rep; America forgot him.
60 We fought with him.
Me, I died for him.
Me, I trusted him.
Me, I loved him.
And me, I’m the damn fool that shot him.
65 There’s a million things I haven’t done,
But just you wait.
What’s your name, man?
Alexander Hamilton!
Literary Devices Unpacked in “Alexander Hamilton”
Lin-Manuel Miranda masterfully employs a range of literary devices in “Alexander Hamilton,” enriching the narrative and emotional impact of the song. Let’s break down some key examples found within the lyrics:
Allusion (Line 5): “ten-dollar Founding Father”
This is a direct allusion to Alexander Hamilton’s prominent position on the ten-dollar bill in the United States. This immediately grounds the historical figure in contemporary American consciousness, creating an instant recognition and relevance for the audience. It’s a clever way to bridge the gap between historical figure and modern listener.
Personification (Line 13 & 52 & 59): “devastation reigned,” “America sings,” “America forgot”
Personification is giving human qualities to inanimate objects or abstract ideas. “Devastation reigned” paints the hurricane as a monarch, actively ruling with destruction. “America sings for you” and “America forgot him” imbue the nation with the human actions of singing and forgetting, respectively. This makes the abstract idea of a nation feel more tangible and emotionally resonant.
Metaphor (Lines 14 & 15): “future drip, dripping down the drain,” “connected it to his brain”
Metaphors are comparisons that equate one thing with another without using “like” or “as.” “Future drip, dripping down the drain” is a powerful metaphor for Hamilton’s potential being washed away by the hurricane. “Connected it to his brain” metaphorically describes the act of Hamilton focusing his thoughts and intellect through writing, using the pencil as a conduit to his mind.
Apostrophe (Line 19): “Get your education, don’t forget from whence you came,”
While subtly employed, there’s a hint of apostrophe as Burr shifts his address. While initially speaking to the audience, the line “Get your education, don’t forget from whence you came,” feels like a direct address to Hamilton himself, offering advice and foreshadowing his journey. This creates a layer of dramatic irony, as Burr becomes a commentator on Hamilton’s life.
Synecdoche (Line 20): “the world is gonna know your name,”
Synecdoche is a figure of speech where a part represents the whole, or vice versa. Here, “the world” is used to represent the people in the world, or human society. The phrase signifies that Hamilton will achieve fame and recognition among people, not literally that the planet itself will know his name.
Hyperbole (Lines 24-25 & 65): “there’s a million things I haven’t done / But just you wait, just you wait,”
Hyperbole is exaggeration for effect. Hamilton stating there are “a million things I haven’t done” is clearly an exaggeration to emphasize his ambition and future potential. It’s not meant to be taken literally, but to highlight his boundless drive and aspirations.
Epithet (Line 26): “debt-ridden”
An epithet is an adjective or descriptive phrase expressing a quality characteristic of the person or thing mentioned. “Debt-ridden” concisely and powerfully describes Hamilton’s father and the financial state he left behind, setting a bleak backdrop for Hamilton’s early life. It echoes the style of epithets found in epic poetry, adding a touch of grandeur to Hamilton’s origin story.
Metonymy (Line 28): “sittin’ in their own sick,”
Metonymy is the substitution of the name of an attribute or adjunct for that of the thing meant. “Sick” is used as metonymy to represent the filth and illness associated with sickness, like vomit and disease. It paints a vivid and unpleasant picture of their dire living conditions.
Sound Devices: Rhyme, Assonance, and Consonance
Beyond literary devices, “Alexander Hamilton” is rich in sound devices that contribute to its musicality and memorability. The intricate use of rhyme, assonance, and consonance creates a dynamic and engaging listening experience. Let’s examine the opening lines as an example:
Rhyme
How does a bastard, orphan, son of a whore
And a Scotsman, dropped in the middle of a forgotten spot
in the Caribbean by Providence, impoverished,
In squalor, grow up to be a hero and a scholar?
Assonance
How does a bastard, orphan, son of a whore
And a Scotsman, dropped in the middle of a forgotten spot
in the Caribbean by Providence, impoverished,
In squalor, grow up to be a hero and a scholar?
Consonance
How does a bastard, orphan, son of a whore
And a Scotsman, dropped in the middle of a forgotten spot
in the Caribbean by Providence, impoverished,
In squalor, grow up to be a hero and a scholar?
The color-coding visually represents the density of these sound devices. Assonance, the repetition of vowel sounds, is particularly prevalent, creating a musical flow even in spoken word sections. Consonance, the repetition of consonant sounds, adds texture and rhythm. Rhyme, though perhaps less frequent in these opening lines than in other parts of the song, still provides key anchors and emphasizes certain words. This intricate weaving of sound devices is a hallmark of Miranda’s songwriting, making the lyrics both intellectually stimulating and aurally captivating.
Conclusion
“Alexander Hamilton” is not just a song; it’s a masterclass in lyrical storytelling and literary craftsmanship. Through the strategic use of literary and sound devices, Lin-Manuel Miranda constructs a compelling narrative, introduces a complex historical figure, and sets the stage for the entire Hamilton musical. This analysis offers just a glimpse into the depth of artistry within this single song, and further exploration of the Hamilton soundtrack promises even richer discoveries for those keen to listen closely and analyze the lyrics. Whether you are a student, teacher, or simply a fan of Hamilton, understanding these devices enhances appreciation for the sheer brilliance of the musical and its enduring appeal.
