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lexilucacia · 4 years

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Title: Wings Relationships: George Washington/Alexander Hamilton Words: 1085 TW: Violence, Canon-Typical Violence, Gun Violence (duelling like the show), Alternate Universe - Canon Divergence, Duelling, Fluff, Alexander Hamilton Needs Sleep This is for Whamilton Week 2020

@gagakumadraws @ultrahamilham

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“Alexander, come back to sleep.” George turned over in their shared bed groaning, feeling distraught at the coldness of the other man’s side, signifying he’d been up for a while. There was a lamp flickering by the table and he could make out the shadow of the man hunched over his writing.

Alexander turned to look at him, a small frown on his face. “I have an early meeting with some of the other aides.”

George raised an eyebrow confused, he wasn’t notified. “It’s still dark outside?” He asked, confused.

“I just have to write something down.” He walked over, placing a kiss on George’s forehead, unwrinkling it.

“Why do you write like you’re running out of time?” He looped his arm around Alex’s.

“Come back to bed, that would be enough.” He tugged Alexander onto his chest, relishing the laugh he gave.

“I’ll be back before you know I’m gone.” He whispered, a promise to the almost sleeping man.

“Come back to sleep.” Gorge pleaded once more, it was cold in the winter on the battlefields and Ale- Hamilton, didn’t normally leave until the sun was starting to rise.

“This meeting’s at dawn.” There was a small frown on Hamilton’s face as he kissed the man like it would be his last.

“Well I’m going back to sleep.” Washington sassed, turning over and closing his eyes.

Hamilton kept writing and 10 minutes later, once done, left one more kiss on Washington’s head. “Best of Generals, best of men.” He blinked back the tears threatening to form.

As soon as he heard Washington’s snores even out, he left the tent, huddling into himself.

“Ready?” Alexander turned to John, who’d agreed to meet him outside Washington’s tent.

John nodded back, not even questioning why he was in Washington’s tent. “Let’s go.”

“Ok, let’s go over some things. If Burr says Lee apologises, no need for further action, we’ll accept, stand procedure.” John nodded, mentally going through his checklist. “You’re my second, Laurens, my lieutenant.”

They both laugh, “You know you’re not high enough to have a lieutenant.” He nudged Alexander’s shoulder.

“So, we got the time. Dawn on the battlefield?” The conversation turns serious again as Alexander asks Laurens about the location.

Alexander was getting kind of nervous about being in a duel, after all he’d only ever been someone’s second. Laurens puts a hand on his shoulder, turning the shorter man to face him, sensing his nerves. “Hey, this is commonplace especially through recruits. Most disputes die and no one shoots, ok?”

Hamilton nodded, butterflies still clogging his stomach. “We’ve got a doctor, right?”

“Burr said he and Lee would bring one.”

“Got it, but we better hurry. Want to do it before sunrise and everybody waking up.” John nodded, both hurrying their steps.

“You leave a note to Eliza?” Alexander nodded. “Washington?”

He asked slyly, relishing how Hamilton’s cheeks flared up. “Yup,” Hamilton croaked out.

They got to the field where they were supposed to be meeting, he shook hands with Lee before they went to stand in the middle, back to back. John nodded one last time at Hamilton before going to try to solve the dispute with Burr.

He walked back over shaking his head and Hamilton nodded gravely, knowing that this may be his last day on earth. Although he doubted Lee would shoot.

He cast one last look towards Lee before the countdown started.

1, 2, 3, 4, 5, 6, 7, 8, 9, 10.

He turned around and shot, it wasn’t blind, he aimed it as soon as he saw Lee would not shoot, but did not bow out either.

“Lee do you yield?” John calls as the bullet makes contact with his said.

“You shot him in the side, yes he yields.” Burr sounds frustrated and his tone is filled with sarcasm.

“I’m satisfied.” Alexander calls back with a shit-eating grin, before turning to John and pulling him into a hug.

“Yo, we gotta clear the field.” He yells at the crowd forming, “Yo, we won!”

John finally realises, but stops as silence that suddenly overtakes the field. “Here comes the general.” He mutters.

“This should be fun.” Alexander gulps back, already nervous about Ge- no, Washington. General Washington.

“What is the meaning of this?” He yelled loudly, startling everyone. He never lost his calm. He turns to Burr, nostrils flaring. “Mr Burr, get a medic for the General.”

“Yes sir.” Burr salutes before running off, scared out of his wits.

“Lee, you will never agree with me, but believe me, these young men don't speak for me.” He glares at John and Alexander before facing back and saluting him. “Thank you for your service.”

“Let’s ride.” John whispers to Hamilton, ready to make a run for it.

“Hamilton.”

“Sir?” Alexander was blinking back tears at this point, not used to the fury being pointed at him.

“Meet me inside.” He turns on his heel, walking off. Hamilton turns to John, nodding at him and walking off, keeping his composure.

“Alex.” His tone was sad, almost guilty.

“Don’t call me that.” Hamilton was aggravated, ready for a fight.

“This war is hard enough without infighting.”

“Lee called you out, we called his bluff.” Alexander defended.

Washington’s face softened. “You solve nothing, you aggravate our allies to the south.” He tries in vain to explain.

“You're absolutely right, John should have shot him in the mouth, that would've shut him up.” Alexander spoke with so much conviction that George couldn’t help it. He strode across the and pulled him into a hug.

“I am not a maiden in need of defending, I am grown.” He whispers into the man ear, holding him closer.

“Charles Lee, Thomas Conway, these men take your name and they rake it, through the mud.” Alexander almost started crying at this. “How can they not see it?”

“What honey?” He was now holding Alexander at arm’s length.

“How good you are. You’re perfect, amazing. You’re such a good general, you never do anything to put anyone in danger without cause. Lee is half the man you are. I love you.” George is almost crying by the end of his little speech.

“Come, lay down. You were up quite early this morning, let’s get a few more hours shut eye.” That was when Alex realised the time, not even past 5. It was early.

“Okay.” He curled into George’s chest, knowing that when they woke up, they’d have a long conversation. But for now, he could rest.

#Whamilton Week 2020 #whamilton week #whamilton #hamilton #george washington #alexander hamilton #song fic #fan fic #rest

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hamanuelton · 4 years

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my favorite parts of hamilton:

- “I imagine death so much it feels more like a memory.”

- every time Leslie Odom Jr. as aaron burr begins another part with “how did a bastard, orphan-“ or like in that same way ‘cause he doesn’t always start it that way but you know what I mean

- the way Leslie Odom Jr. as My Boi Burr™️ says “well, the world got around, they said, ‘this kid is insane, man!’”

- also when Leslie Odom Jr. as A. Burr says

“WHAT’S YOUR NAME, MAN?!”

- “our man saw his future drip-dripping down the drain, a pencil to his temple, connected it to his brain”

- “Alexander Hamilton. My name is Alexander Hamilton. And there’s a million things I haven’t done, but just you wait, just you wait...”

- background “just you wait, just you wait”’s as hammy’s putting on a new jacket and ensemble is praising nyc

- “and me? i’m the damn fool that shot him.”

- “Burr, sir” + the continuation of this all throughout

- “If you talk you’re gonna get shot” / FORESHADOWING WOOOEEEEWOOOOO

- “i’m John Laurens in the place to be”

- Lafayette’s fuckinf accent

- “BRRRAH! BRRAAAH! HERCULES MULLIGAN UP IN IT LOVIN IT”

- “if you stand for nothing, Burr, what’ll you fall for”

- “‘Onarchy?”

- hey, yo, i’m just like my country, i’m young, scrappy, and hungry—

- the way Odom Leslie Jr. as The Hamburrglar™️ says ‘shot’ and they all take a shot

- this ⤵️

- Hammy getting //flustered// about friendship

- WHEN ARE THESE COLONIES GONNA RISE UP

- Angelica’s face when Burr is tryna tell her bout herself and she shows him up and ships him out

- Act 1: 6. Farmer Refuted

- honorable mention: “my dog speaks more eloquently than thee!" "but strangely, your mange is the same." "is he in jersey?”

- King George pouting

- Jonathan Groff’s overarticulation of each syllable as King George is a work of art

- “♪ Da-da-da-dat-da-dat-da-da-da-dai-ah-da! ♪ Da-da-da-da-dai-ah-da! ♪

- “Everybody! —“

- “We keep meeting.”

- “i imagine death so much it feels more like a memory. when’s it gonna get me? in my sleep? seven feet ahead of me?”

- “See, I never thought I’d live past twenty.”

- “this is not a moment, it’s the movement”

- “I’m laughin�� in the face of casualties and sorrow, for the first time, I’m thinkin’ past tomorrow!”

- “dying is easy, young man, living is harder!”

- “i’m being honest. i’m working with a third of what our Congress promised.”

- “you need all the help you can get. i have some friends. Laurens, Mulligan, Marquis de Lafayette, okay, what else?” — “we’ll need some spies on the inside, some king’s men who might let some things slide.”

- “watch this obnoxious, arrogant, loudmouth bother be seated at the right hand of the father.”

- “Martha Washington named her feral tomcat after him” — “That’s true.”

- “Yo, if your marry a sister, you’re rich, son!” — “Is it a question of ‘if’, Burr, or which one?” and then the little ‘hey’ ‘hey’ thing they do gets me every time

- literally the use of yo throughout the production fucking gets me every single fucking time

- “i’m writin’ a letter nightly. now my life gets better, every letter that you write me. — THE PURE UNBRIDLED SENSE OF FORESHADOWING IN “laughin’ at my sister, cuz she wants to form a harem” — ft. “i’m just sayin’, if you really loved me, you would share him!”

- the irony in “Eliza, i don’t have a dollar to my name”, you’ll be on the $10 bill, my man

- top-notch brain

- Angelica TRIED TO TAKE A BITE OF ME

- the way Anthony Ramos as John Laurens says “alright, alright. that’s what i’m talkin’ about!” and also the face that he makes

- hunger-pang frame

- “You strike me as a woman who has never been satisfied.” — “I’m sure I don’t know what you mean. You forget yourself.” — “You’re like me. I’m never satisfied.” — “Is that right?” — “I have never been satisfied.” — “My name is Angelica Schuyler.” — “Alexander Hamilton.” — “Where’s your fam’ly from?” — “Unimportant. There’s a million things I haven’t done but just you wait, just you wait...”

- tbh the way ‘Schuyler’ is spelled is oddly satisfying to me

- honestly just the way LMM says Alexander Hamilton+/ my name is Alexander Hamilton, and there’s a million things i haven’t done, ‘just you wait, just you wait...’ throughout the production

- “i’m the oldest and the wittiest and the gossip in new york city is insidious”

- “You are the worst, Burr.”

- Act 1: 12. The Story of Tonight (Reprise)

- “love doesn’t discriminate, between the sinners and the saints, it takes and it takes and it takes”

- “love doesn’t discriminate, between the sinners and the saints, it takes and it takes and it takes and we keep living anyway. we rise and we fall and we break and we make our mistakes. and if there’s a reason i’m still alive when everyone who loves me has died—“

- “Chick-a-plao!”

- the way they say ‘raise a glass’ is both elegant and (appropriately) reverent

- “i go back to new york and my apprenticeship” — i shouted MY BOI HERCULES MULLIGAN UP IN IT LOVIN IT DID NOT JUST SAY THAT, IF HE ACTUALLY LEFT AND ISN’T JUST UNDERCOVER OR SOME SHIT IMMA WRITE LIN-MANUEL MIRANDA A STRONGLY WORDED LETTER

- the minute General Charles Les came into the picture i hated him so hard, even though his literal first word was ‘Whee!!!!’, though i can appreciate the sentiment and what LMM was tryna do there

- “Washington cannot be left to his devices indescisive, from crisis to crisis” — sweet baby jesus that alliteration, and jon rua totally pulled it off (i hate General Charles Lee not the person who played him, i can also appreciate the fact that as an actor it takes a lot of talent to be able to make you hate a character so easily, also shoutout to Jonathan Groff as King Georgey-Boy™️, Sydney James Harcourt as james reynolds, and the general way LMM somehow made me fed up/turn on Alexander with the whole scene with him and Maria Reynolds — and not only that but somehow redeemed himself to me which is easier said than done for characters and people alike.. i’ve been hurt too much to play like that.

- Act 1: 15. Ten Duel Commandments

- honorable mention: “if you don’t reach peace, that’s alright. time to get some pistols and a doctor on site. you pay him in advance, you treat him with civility. you have him turn around so he can have deniability.”

- Act 1: 17. That Would Be Enough

- honorable mention: the melody that LMM went with for that turn of phraseis a truly beautiful thing

- “Immigrants:” — “We get the job done.”

- THE FACT THAT MY MAIN MAN HERCULE MULLIGAN WAS ON THE INSIDE NOT ONLY DID I CALL IT BUT DAMN HE REALLY GOT THAT GOOD HOT TRIBUTE HE DESERVED

- “To my brother’s a revolutionary covenant! I’m runnin’ with the sons of liberty and I am lovin’ it! See, that’s what happens when you up against the ruffians. We’re in the shit now, somebody gotta shovel it! Hercules Mulligan, I need no introduction, when you knock me down I get the fuck back up again!”

- Act 1: 21. What Comes Next

- honorable mention: “i’m so blue” — the little squat that Groffsauce does as the light turns blue really got to me

- Act 1: 22. Dear Theodosia

- Leslie Odom Jr.’s voice is so ding dang delightfully airy

- honorable mention: “You have my eyes. You have your mother’s name. When you came into the world, you cried and it broke my heart.”

- Act 1: 23. Non-Stop

- as someone with siblings i can appreciate that they’re bickering like that’s just what they are

- “I was chosen for the constitutional convention! *squeal*”

- “Burr, we studied and we fought and we killed for the notion of a nation we now get to build. For once in your life, take a stand with pride. I don’t understand how you stand to the side.”

- Act 2: 1. What’d I Miss?

- honorable mention: “But the sun comes up and the world still spins.”

- Act 2: 2. Cabinet Battle #1

- honorable mention: “DOIN’ WHATEVER THE HELL IT IS YOU DO IN MONTICELLO!”

- tomorrow and tomorrow and tomorrow

- “Daddy, daddy, look.... My name is Philip. I am a poet. I wrote this poem just to show it. And I just turned nine. You can write rhymes but you can’t write mine.” - “What!” - “I practice French and play piano with my mother.” — “Uh-huh!” — “I have a sister but I want a little brother.” — “Okay!” — “My daddy’s trying to start America’s bank. Un deux trois quatre cinq!” — “Bravo!” — “Hey, our kid is pretty great.”

- as much as i hate Act 2: 4. Say No To This (because for some reason i though Alexander Hamilton was better than that) Jasmine Cephas Jones sings in it is like a hot knife through butter — namely; “My husband’s doin’ me wrong beatin’ me, cheatin’ me, mistreatin’ me...”... I guess maybe I understand it ‘cause damn Jasmine Cephas Jones is so ding dang pretty and ding dang talented and wow what a remarkable person

- the way that Lin says “And her body’s saying, ‘hell, yes’ is um.. 😓

- “You see, that was my wife you decided to” — “Fuuuu—“

- Act 2: 5. The Room Where It Happens

- honorable mention: “Bros.”

- “Talk less. Smile more.” LMM being a dramatic bastard

- Act 2: 6. Schuyler Defeated

- Act 2: 7. Cabinet Battle #2

- “revolution is messy but now is the time to stand."

- honorable mention: “Ooh!!”

- “We signed a treaty with a King whose head is now in a basket. Would you like to take it out and ask it? ‘Should we honor our treaty, King Louis’ head?’ ‘Uh... do whatever you want, I’m super dead.’”

- Thomas Jefferson all like “but sir do we not fight for freedom” MY BAD SIR YOU ARE A SLAVE-OWNER HOW ABOUT YOU NOT

- mentioning Lafayette because apparently LMM has no problem with breaking the fourth wall

- “Daddy’s calling.”

- “I’m in the cabinet. I am complicit in watching him grabbin’ at power and kiss it. If Washington isn’t gon’ listen to disciplined dissidents, this is the difference. This kid is out!”

- “Southern motherfuckin’ Democratic-Republicans!”

- “The emperor has no clothes.”

- “Sir, I don’t know what you heard but whatever it is Jefferson started it.” — “Thomas Jefferson resigned this morning.” — “You’re kidding.” — “I need a favor.” — “Whatever you say, sir, Jefferson will pay for his behavior.” — “I’ll use the press. I’ll write under a pseudonym, you’ll see what I can do to him—“ — “Yes! He resigned you can finally speak your mind!” — “Ha. Good luck defeating you, sir.” - “I’m sorry, what?”

- Act 2: 10. I Know Him

- “—Vice President.” — “— No more Mr. Nice President.”

- “Sit down, John, you fat motherf—“

- Act 2: 12. We Know

- honorable mention: “You see that was my wife you decided to—“ — “WHAT—“

- Act 2: 13. Hurricane

- Act 2: 14. The Reynolds Pamphlet

- honorable mention: *DEEP VOICE* “DAMN”

- Act 2: 15. Burn

- i’ll be the first to say i wasn’t a huge fan of Eliza at first aside from Phillipa Soo’s killer voice

- this gave me a lot of respect for her

- honorable mention: “You have married an Icarus. He has flown too close to the sun.”

- Act 2: 16. Blow Us All Away

- i would like to point out that tweet where someone @‘s LMM about not mentioning Philip’s hot and he responds “I’M FAIRLY F**CKING SURE I DID”, y’know ⤵️

- “The ladies say my brain’s not where the resemblance stops.”

- “God, you’re a fox.”

- Act 2: 17. Stay Alive (Reprise)

- The ‘I know, I know. Shh.’ and the full circle back to his mom teaching him french on the piano really got to me for the beautiful artistry in it but also damn them feels

- Act 2: 18. It’s Quiet Uptown

- “I spend hours in the garden. I walk alone to the store and it’s quiet uptown. I never liked the quiet before. I take the children to church on Sunday, a sign of the cross at the door, and I pray. That never used to happen before.”

- “Philip, you would like it uptown. It’s quiet uptown.”

- “You knock me out, I fall apart.”

- “Eliza, do you like it uptown? It’s quiet uptown.”

- “There are moments that the words don’t reach. There is suffering too terrible to name. You hold your child as tight as you can and push away the unimaginable. The moments when you’re in so deep it feels easier to just swim down.”

- “There are moments that the words don’t reach. There is a grace too powerful to name. We push away what we can never understand. We push away the unimaginable.”

- “Can you imagine?”

- Act 2: 19. The Election of 1800

- honorable mention: “And they say I’m a Francophile: at least they know I know where France is!”

- “You used to work on the same staff” — “Whaaaat.”

- “Honestly, it’s kind of draining.” — “Burr...” — “Sir!” — “Is there anything you wouldn’t do?” — “No. I’m chasing what I want. And you know what?” — “What?” — “I learned that from you.” / this moment made the blow that he voted for Jefferson like a damn hole in my chest and i actually really felt for Burr. i get Hammy’s reluctance, i think if anything he was hoping voting for Jefferson would give Burr the chance to have experience as VP and then the next election he might vote for him then depending

- Act 2: 20. Your Obedient Servant

- A. Burr

- A. Ham

- “I just need to write something down.” / really resonated as one of the last things they showed him doing before going off to the duel, his life really was writing and that was the perfect way to say that in a very subtle sort of way. i really appreciate it artistically, whether it was intentionally so or not.

- Act 2: 22. The World Was Wide Enough

- okay but first of all i would like to comment on the fact that Ariana DeBose PLAYS THE GODDAMN BULLET, I JUST

- THE FACT THAT THE BULLET HAS A PART

- “This man will not make an orphan of my daughter.” / this made me really sympathize with Burr, as well as when he tries to go towards Hamilton (at least in the play but I sincerely hope that was historically accurate) / but also that fact that Theodosia Burr was lost at sea at 29 makes me sad because Hamilton’s life was taken to give her one and then she just up and disappears in a freak accident

- Act 2: 23. Who Lives, Who Dies, Who Tells Your Story

- the orphanage got to me

- i loved that he (LMM) didn’t end it with himself or anything

- he let Phillipa Soo tear my heart out

- it killed me but i died quite happily

- and really what more could you ask for.

#okay so #i know thw subheaders are probably grossly uneven #but like #i had to space manually #and this already took a lot of time to do #so i couldn’t give two fucks #lin manuel miranda #hamilton #hamilton film #daveed diggs #jonathan groff #anthony ramos #christopher jackson #jasmine cephas jones #leslie odom jr #leslie odom junior #ariana debose #jon rua #hamilfilm #shit i lost steam to tag cast members #you know and if you don’t look it up so you do #that’s how you learn shit like that the bullet had its own fucking role #the orphanage part also hurt because i was disowned by my father and then disowned by my mother (again) and then my father just decided he #wanted back in on my life #my shit family life has cast me out of my family #i feel like an orphan except i can’t be adopted #even though i want more than anything to have parents or parental figures #sadly my dad just isn’t #he kind of ruined that for me when he screamed me into a panic attack that almost killed me and then left the front door open to tell me to #get out

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letsnotdiealone · 4 years

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Things I loved when I saw Hamilton

These are all the things I would never have known about if I hadn’t seen the actual Hamilton show:

King George the third coming over the loudspeakers and welcoming us to “his” show

All the characters stand on different parts of the stage when stating what they were to Hamilton

Mulligan kicking up his leg when Alex says “I think your pants look hot!”

Hamilton Cast Mannequin Challenge during Alex’s monologue about death in “My Shot”

Nobody else is on stage during “The Story of Tonight”, which literally makes all of the atmosphere

Samuel Seabury being extra and trying to cover up Alex during their discussion in “Farmer Refuted”

The ensemble hastily running out when King George angrily states “EVERYBODY!” in “You’ll Be Back”

Alex placing his hand out to shake Burr’s hand when they meet in Washington’s office, but Burr turning his back towards him and Alex then looking down on his own hand slightly disappointed

The characters do most of the same choreography from the two last songs when they rewind in “Satisfied”

The ensemble being almost completely still during “Wait For It”, leaving Burr to stand alone

Eliza on the top part of the stage singing “Stay Aliiiiiive”

A “bullet” literally going right over Alex’s head

Charles Lee’s extra-ness when being mad about Washington

Hamilton and Washington standing real close during “Meet Me Inside”

Eliza holding her hands on her stomach during most of “That Would Be Enough”

Chairs being turned upside down when everyone sings “The world turned upside down”

The cast standing on top of those chairs to state “We won!”

King George stomping his foot after saying “I’m so blue” and the light turning blue

Burr and Hamilton sitting on chairs in the other person’s colour in “Dear Theodosia” (Alex’s colour being green, while sitting on a purple chair, Burr’s colour being purple while sitting on a green chair)

THAT SCENE MADE ME CRY

Laurens’ lone voice singing “Tomorrow there’ll be more of us”

Lafayette and Mulligan reading the letters at the same time as Alex on the top part of the stage

Burr coming in and immediately starting “Non-Stop” so Alex has to hastily dry his tears

Eliza and Angelica holding on to each of Alex’s hands and him having to drag them free while singing “I am not throwing away my shot”

(I panicked during break cause I couldn’t decide what to buy in the shop)

Thomas Jefferson is Extra

They all hold actual microphones during both of the Cabinet Battles

Eliza beatboxing to Philip’s rapping in “Take A Break”

Alex looking up at the audience when going “Fuuuuuu...” in “Say No To This”

All of the choreography in “The Room Where It Happens” honestly

Thomas Jefferson is Extra Part 2

King George doesn’t have his cape anymore in “I know him”

King George sitting on the side and looking really content during “The Adams Administration”

Alex shouting “You fat motherf*cker” and dropping a literal stack of papers on the floor

Ominous walking and glances in “We know”

Things flying and the ensemble dancing fast and then slow around Alex in “Hurricane”

Maria Reynolds is the one to give Alex the pen

Papers are flying during “The Reynolds Pamphlet”

Maria Reynolds’ face reminded me that Alex didn’t only ruin his own reputation when writing about what happened

Thomas Jefferson is Extra Part 3 (He dances on his back on Alex’s table while singing “Never gonna be president now!”)

King George comes on and dances around, mocking Hamilton and looking real happy

The Emotion!!! in “Burn”. You can feel the hurt.

Philip holds his pose, gun in the air, while people drag him onto a bed

Eliza’s anguished scream after Philip dies

The transition music before “It’s Quiet Uptown” starts is literally “The Story of Tonight”, calling back to Laurens

Almost everyone wearing something black

The rest of the cast not present in the song standing over Alex and Eliza on the top part of the stage

Eliza refusing to look at Alex before the last seconds of the song

The tears on both of their faces being lit up by the stage light (I was crying too)

Madison has to dry his tears in the beginning of “The Election of 1800”

Thomas Jefferson is still Extra

Alex and Burr sit in each other’s chairs again in “Your Obedient Servant”

Hamilton, Burr, and their “seconds” are the only ones wearing black while the rest of the cast are wearing white when they meet for their duel

The slow motion bullet

Eliza stands between Alex and Burr when Alex speaks about/to her

The cast leaves the stage, leaving Burr alonewhen Burr sings “Now I’m the villain in your history”

Alex slowly appears on the top part of the stage when Burr sings “The world was wide enough”

Alexander appears behind Eliza near the end of the last song

She doesn’t see him until the last moments, when she takes his arm in hers

Bonus (Other things I loved):

The Set Design!! Is Awesome!!!!!!!!!

The costumes!!!!

The London Cast was amazing!

However much I love Philippa Soo, Sharon Rose was absolutely perfect for the role of Eliza. She brought a lot of emotions and has a really beautiful voice.

I really loved this version of King George and Thomas Jefferson

Hercules Mulligan is such a great character

#hamilton #alexander hamilton #lin manuel miranda #sharon rose #eliza schuyler #the schuyler sisters #arron burr #hamilton london

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treehoes · 6 years

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Ok so I saw Hamilton today (4-4-18) on broadway and here’s like a lil review of how amazing it was

•Alexander Hamilton- I was going through so much shock that i was actually there I don’t remember much but the placements of all the characters during the “me? I _____ him” was spot on

•Aaron Burr Sir- The guy playing burr made burr so sarcastic it was great

•My Shot- This is probably my least favorite song but like the bros™️ were hitting the table with cups and their fists and it was so cool

•The Story of Tonight -Very low key bros being bros drinkin

•The Schuyler Sisters- The “and Peggy” was so like hey what about me it was great. Also those girls are phenomenal like wish I was half as talented

•Farmer Refuted-I’m pretty sure thayne Jasperson was the og Samuel seabury and he’s on point like Hamilton was all up in his face and he just pushed ham away and moved his box in front of him

•You’ll Be Back- Ok so king George was a great singer but he sang kinda annoyingly and I thought that really portrayed king George

•right hand man- G-wash was so great honestly and the ensemble in this song was so awesome and on point

•A winters ball- Reliable with the LADIES

•helpless- Lexi Lawson is very different from Phillipa soo but she’s so talented and absolutely killed it also Hercules as the flower girl was the best creative decision ever

•satisfied- Um ok so like actually shook Mandy fricking Gonzales is so talented like at the part at the end she not only killed it, she stabbed it 27 times and drop kicked it to mars like it was a mouth drop open and they redid everything from helpless perfectly 11/10 one of the best parts

•the story of tonight reprise- Drunk Lauren’s is the best

•wait for it- Ok home slices you know how much I went off on how good satisfied was well, this was 100 times better. Burr was better than Leslie Odom by a lot he was the best in the show

•stay alive-There were British soldiers in the background it was cool also Charles Lee was funny cuz he’s a general WEEEE

•10 duel commandments-Laurens, who has just shot someone: fuck ya I just shot that bitch fuck him.

Me: I’m so proud of you

•meet me inside- Ham: im not your son

G-wash: that sound fake but ok

•that would be enough-Again, Lexi Lawson slayed as eliza like she was pregnant and still killing it

•guns and ships- Lafayette was mega fast like I know all the words to that song and I could barely understand what he was saying but he was still great

•history has its eyes on you- G-wash gave ham a sword and when he put it in the holder it made such a nice noise

•Yorktown- I love big group numbers like this the choreography was on point. Right before herc entered they were waving redcoats and he burst through them and it was awesome

•what comes next-King George went im so blue and all the lights turned blue I just really like that part

•dear theodosia-This is my favorite song on the soundtrack and I wish they did a bit more with it onstage cuz they kinda just stood and sat and that was it

•the part where Laurens dies that I can’t remember the name of- Ok this was so sad but herc and Lafayette were up on the top part with the same letter that eliza was reading to ham and I didn’t know that they did that and it made the scene a lot more sad

•non stop- Ham is so extra I love it. They had chairs to represent ham, john jay and Madison and they all faced backwards and when John jay got sick after writing five they flipped his chair around and they took away Madison’s chair when he only did 29 and Hamilton was sitting in the third chair and I just really liked the way they did that. Also when ham goes to burr in the middle of the night there’s a light that makes it look like burr is standing in a doorway and I just really liked that lil detail also non stop is the song that got me and my friend that i went with into Hamilton so it has a special place in my heart

•intermission- Umm pretty boring actually, 15 minutes of random dudes coming on and off stage making sure everything is ok, no singing or dancing 0/10 but here’s a photo of me at intermission

•what’d I miss- Ok so at the start of this, ensemble came out from different places and one of them came from the orchestra hole and I thought that was hilarious also this is 10x better on stage than it is on the soundtrack the ensemble was all on point doin their thing

•cabinet battle one- There was a mic drop and that’s all I wanted from this song and I got it

•take a break- Ok so Philip was great in this he was so nervous doing his poem and eliza was beatboxing like the true queen she is. And the beginning part made great use of the circle thing on the stage like ham was facing back when Philip and Eliza sang and then it circled him to the front and Philip and eliza to face the back I loved it

•say no to this- Spoiler, Hamilton didn’t say no. Also James Reynolds had a southern accent and I thought it was so funny

•the room where it happens- I said it once I’ll say it again burr was phenomenal like his lil dance was awesome this song blew me the fuck away

•Schuyler defeated- Idk what to say about this one except for I liked that Philip and eliza were on the balcony thing off to stage left

•cabinet battle 2- I love that these are rap battle but also epic rap battles of history is literally this cuz it’s a musical about history also when Madison said France it was so small it made it more funny

•Washington on your side- When they go OH the lights went big on the floor it was cool. Also “look at the bill of rights, which I wrote” I always thought Jefferson said which I wrote so since I started listening to Hamilton, I’ve had three tests/quizzes with a question on who wrote the constitution and the bill of rights and I always put Jefferson cuz of this line and I always got it wrong so fuck you hamilton

•one last time- I cried, g-wash was so good at the end of this song I can’t I want to hear him sing this every day

•I know him- When the lady whispered in his ear he was like what cuz like john Adams? That’s short bitch?

•the adams administration- Ham drops a stack of papers from the balcony and it hits the ground on a big beat and it was soo cool

•we know- Hamilton spills his soul out and Jefferson burr and Madison are like :o

•hurricane- I never really liked this song too much but The ham dude did it so amazing and the lighting looked like water and hurricanish

•the Reynolds pamphlet- Ok king George is in this and it’s the funniest thing ever cuz he’s all like I told you that you guys would suck and look! A very upper person had an affair

•burn- I’ve seen bootlegs of this song so many times but there’s nothing like seeing it onstage cuz it goes black at the end and all you can see is the fire from her lantern it’s beautiful

•blow us all away- I love Philips character cuz he’s such a kid and he’s great and talks a little fast

•stay alive reprise- I cried real hard during this, 11/10 death, would cry about again

•its quiet uptown- So sad lots of crying from the big tough looking guy sitting next to me. I really like how angelica narrates it I think that’s cute

•election of 1800- Ham: sad cuz of sons death

Everyone, chanting: choose you Bitch we’re incapable of doing it ourselves

But Jefferson did an I win dance when he was endorsed and burr was like wtf bro guess i gotta kill you now

•your obedient servant- When Hamilton writes a letter to burr it was 5 pages long and they had a different person deliver each page and the last girl had two and was doing a little dance to deliver them it was great

•best of wives best of women- Look at ham writing his note to next of kin, love your wife more she’s Lexi Lawson for Christ’s sake

•the world was wide enough- I cried even tho I knew he was gonna die. Hams part where there was no music was so dramatic and g-wash came on and hams Mom and Laurens/Philip it was so sad I loved it

•who lives who dies who tells your story

Thinking about this is gonna make me cry again but Hamilton was not in this number at all and I thought that was great cuz he’s dead but honestly fabulous way to end the show I’m shoooook

All in all it was a beautiful show, much more than I could have ever asked for. We had terrible seats but that’s ok cuz it’s Hamilton. The lighting and dancing and blocking was phenomenal I never really notice anything like that when I see shows but it was so good I talked about the lighting for 5 minutes straight and I don’t know jack shit about lighting

#hamilton #alexander hamilton #aaron burr #eliza schuyler #eliza hamilton #angelica schuyler #peggy schuyler #maria reynolds #james madison #thomas jefferson #hercules muligan #john laurens #philip hamilton #george washington

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icarusandtheson · 6 years

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“Bastard, orphan, son of [redacted]”: The Hamilton-Washington Connection Through a Maternal Lens

this originated as an 800 word meta post here on tumblr. my followers were very supportive. it escalated. here we are clocking in around 4.1k. thanks everybody.

summary: an analysis of hamilton and washington’s relationship as fictionally portrayed in “hamilton: an american musical” considering hamilton’s relationship with rachel faucette, themes of loss, abandonment, and remembrance.

find it on ao3!

also, this is apparently a series now

Rachel Faucette is mentioned in precisely four songs of Hamilton: An American Musical. She is never named, references to her are brief at best and insulting at worst, and yet her life and death haunt the narrative. Anyone who has followed me in this fandom, even briefly, knows I care about her, and her relationship to Alexander, very deeply. I’ve yet to receive a question about why I care about this dynamic so much, which I think speaks to some deeper understanding we all share -- we know Rachel is important, we know her relationship with her son is important, and all that I intend to do here is dig a little more deeply into that knowledge.

If you know about my feelings on Rachel, then you also know my feelings on Alexander and Washington’s relationship. Even the casual fan would be hard-pressed to explore this dynamic and not come across the plethora of theorizing that has been done about the parallels between this dynamic and Alexander’s relationship (or lack thereof) with absentee father James Hamilton. Now, Rachel is only mentioned four times in the musical, but James is only mentioned twice. As far as I have encountered, there is precious little material exploring her role in a similar context, so for the next little while I’m going to give Rachel her due, as well as delve into some of the complexities that make Alexander and Washington’s dynamic so frustrating and so rewarding.

This is, of course, all conjecture -- there is no other description I can use, with so few textual references to either parent. Moreover, Washington and Hamilton’s canon relationship is fraught, to say the least, and open to countless interpretations. I draw connections to Hamilton’s behavior that I believe make sense, from a narrative perspective, to have stemmed from the loss of his mother. As always, I’m coming at Hamilton as a fictional text, not a piece of history, and all analysis is based within this framing, for my own entertainment, and the reader’s.

His father split, full of it -- On James, Rachel, Washington, and parallels therein

According to Genius.com, the Off-Broadway version of Alexander Hamilton says “full of shit” instead. I mention it here to frame the argument that follows.

People tend to draw connections between Washington and the absentee James Hamilton, for fairly obvious reasons. Absent father, would-be father figure. In many ways, this is what gives Alexander and Washington’s dynamic, in whatever iteration, so much struggle and difficulty and complexity. There are many different emotions at play on various levels, both past and present. Whether Washington’s relationship with Alexander parallels or contrasts James’ is not often dissected in much detail -- the extent of the argument usually rests on Meet Me Inside, and Alexander’s discomfort and anger with being called “son”. Since Washington is a man and a father figure, the explanation for this discomfort is usually boxed away as “daddy issues” and not revisited.

However, unlike James, Washington wants Alexander. In Right Hand Man he requests him specifically to work for him, and trusts him almost immediately -- enough to share his private concerns to the extent that even Alexander asks, “Why are you telling me this?” When they fight in Meet Me Inside, Washington calls him back, and does so again in Non-Stop. I do not doubt that James’ abandonment lingers behind the scenes and influences some of the strain between these two characters, but I do doubt that solely considering James’ influence yields a complete picture.

If James is “full of it”, Washington is utterly grounded -- in both his perception of himself and of his reality. We see this often throughout the musical, but we see it especially clearly in Right Hand Man: regarding the reality of the war, he’s fully aware his troops are “outgunned” and “outmanned”. Regarding his own reputation --“ men are all lining up to put me on a pedestal, writing letters to relatives embellishing my elegance and eloquence”. He is fully aware of his own limitations, and the way others seek to obscure those limitations in service of a greater narrative. Despite this, or maybe because of it, the narrative perceives him as honorable. Alexander, regardless of his tension with the man, perceives him as honorable. LMM mentions in the Right Hand Man Genius.com annotations that he wrote Washington as “an unimpeachable moral authority”, and it shows. He is as far from the man who abandoned Alexander and his mother as could possibly be.

This brings us to Rachel: a woman, referenced only briefly, and often referred to outside of Alex (and Eliza’s) recounting as “a whore” (for the record, my tally of Rachel’s mention in the play do not count the many, many times this is mentioned -- I count the time Alexander’s “mother” is referenced). At first glance, she has less in common with Washington than James does. Something worth noting: Genius.com confirms that she was not a literal prostitute -- it’s an epithet, probably alluding to the fact that she wasn’t married to James, but to someone else. She was also accused of cheating on that husband who was, by all accounts, horrid to her. On that note, let’s talk a bit more about “moral authority” and who has it.

Lee insults Washington, particularly attacking his fitness to lead. We know Lee is in the moral wrong for several reasons: Washington has already been set up as the “only … man” who can lead the revolution, and Lee’s attack is framed as a peevish response to consequences of his own cowardice. The chorus gasps, and Washington continues to exert his moral authority by ordering Alexander to not do anything, assuring him that “history will prove [Lee] wrong”. Washington even takes the high road after the ill-advised duel -- he thanks Lee for his service. Therefore, Washington retains moral authority in the narrative, and Lee has none. But even more important is how Alexander views the insult -- he disobeys Washington (through a loophole, but the fact remains) in order to see Lee pay for the insult. If the musical is told more or less through Alexander’s eyes, following significant events of his life, and if Washington is the moral authority of the musical, we can begin to lay the foundation for a more complex connection.

Rachel’s parallel to this runs throughout the entire musical via the “whore” designation, most often used by Burr in the opening lines of songs. Burr’s moral authority within the play is… difficult, to say the least. He kills the protagonist, but only because he fears he himself will be killed, thus orphaning his daughter. There are doubtlessly moments in which we as an audience sympathize with him, even side with him. I talked in my previous essay about the difficulties of considering “Burr the Narrator” versus “Burr the Character”, but within this context, I believe it’s safe to assume we are dealing with “Burr the Narrator” -- calling Alexander the “son of a whore” seems to be less Burr’s own judgement than it is a reflection of the views of their society and how it remembered him. Alexander, the “bastard orphan, son of a whore and a Scotsman” -- the entire musical is taking up the task of dismantling this definition and showing who he really was, how he was so much more than these epithets. Therefore, Burr’s moral authority is less of an issue, here (though it’s interesting to note that in Ten Duel Commandments, Burr is Lee’s second). The grievance should be directed more at general tendencies of labelling women as “Madonna or whore” extremes -- this is reinforced by Alexander’s fondness towards his mother’s memory, and the fact that she was, by all accounts, a good and loving woman despite what is said about her by others. In this way, Rachel retains some measure of moral authority after her death -- significantly more so than James, who is remembered fondly by no one, not even his son. We never get Alexander’s response to hearing Rachel insulted directly -- however, I would expect a fairly explosive reaction.

I would argue that Rachel and Washington occupy the same type of place in Alexander’s life -- perhaps what Washington would call “a pedestal”. It’s worth bringing up The World Was Wide Enough to make this point -- there’s clearly a connection between the people Alexander remembers (or sees, as the case may be). Laurens and Philip, connected by their untimely deaths, Philip and Rachel by virtue of being Alexander’s family and him taking some comfort at the thought of Philip being cared for as he himself once was, and -- Rachel and Washington. Moments from death, as honest as we have ever seen him be, Alexander links them through order.

Further explanations for this order will unfold as we continue.

I grew up buckwild -- On parental legacy

When we discuss Alexander’s reluctance to let Washington close -- Meet Me Inside being the most obvious example of this tension -- I would argue that there is a substantial amount of his trauma over Rachel’s death in that, not just James’ abandonment. By all accounts in the text (again, “full of [sh]it”) James care little for his son, so the pain Alexander is protecting himself against by refusing Washington’s attempts at affection and comfort, I would argue, stems from the loss of the one person Alex ever drew affection and comfort from. James was by all accounts distant, certainly didn’t try to reach out and establish a connection like Washington does. Like Washington repeatedly does, from their first meeting to their last.

One Last Time, and the fact that Washington does eventually split, will be addressed later on.

If it was just about “daddy issues”, why do any overtures of affection incite so much anxiety and reluctance from Alexander? Wouldn’t he want that? Maybe, maybe not. It is difficult to determine what paternal abandonment did to him. However, by all accounts he was very close to his mother. They were together when she died, both having become ill around the same time. She was holding him, and he was twelve already -- still a child, but not a young child. There’s a closeness denoted there, a standard of love and care, and it is reflected by Alex’s clear grief discussing her in Hurricane and his assertion in Helpless that he’ll “never forget [her] face, that was real” (’that’, we can safely assume, indicating their love for each other), that can safely be drawn to their entire relationship. I posit that Alex runs from George’s affection because he’s already had it. He had it, he treasured it, and it was torn from him before its time. If he barely survived it the first experience of that kind of loss, it’s difficult to imagine why would he willingly put himself back there a second time -- in a war zone at that, where risk is even higher than in his previous experiences.

In my previous Hamilton essay, I talked at length about Alexander and his struggle with his work under Washington, and how that ties into Alexander’s many issues with toxic masculinity. For this paper, I want to suggest a derivative of that: Alexander equates glory, even if death, with manhood, and I would further argue, adulthood. The opening of Right Hand Man supports this: “As a kid in the Caribbean, I wished for a war, I knew that I was poor, I knew it was the only way to rise up”. He only starts to relent when Washington notes that a “head full of fantasies of dying like a martyr” is a characteristic of someone who is “younger”. Even still, in The Story of Tonight (Reprise), he tells Burr he wishes he had Burr’s command, “instead of manning George’s journal”. This indicates to me a desire for Alexander to distance himself from childish things -- one of which involves being kept back from action, kept safe, under the watchful eye of a benevolent authority figure. Part of that, I argue, stems from the fact that he’s already been that child, has already been protected (again, we return to Rachel holding him, protecting him in his illness) and knows intimately how unwise it is to put faith in that. He’s wary of repeating past mistakes -- that is, wary of making himself vulnerable to elements out of his control. He’s not afraid of being abandoned (or not only that), which would be the case if the James theory held true -- he’s afraid of being held too close.

If there’s a moment I would say we see James’ legacy, it comes right after Washington tells Alexander to go home in Meet Me Inside. The “but sir”’ is performed in the OCR in such a small, lost voice; I think here, in this moment where Washington seems to have removed all affection (even though, ironically enough, he hasn’t, he’s trying to save Alexander and return him to his family) that we maybe see an echo of the boy who watched his father walk away.

But the extra knife in the gut to that is that he knows, at some point, the affection was there. It’s reflective of both his parental losses, and it is triggered by him acting on his affection for Washington and defending his honor. Washington’s assertion that he is “not a maiden in need of defending, [he is] grown” both hits the mark and misses the point. Alexander wants to protect Washington, not because he believes him childish or incompetent, but because he is keenly aware that people do not cease being vulnerable as adults. It was a lesson he learned well as a child.

George’s “Son, I need you alive” and Alexander’s’s strong reaction to it in Meet Me Inside could be explained by this theory too. I find it hard to believe that Rachel didn’t express that same sentiment before she died, in some way or other. Washington is deeply afraid of losing Alexander, and by taking control of the situation and denying Alexander the command, he places Alexander in a renewed state of vulnerability. It is a painfully fraught moment on every level -- both men want to protect, both are so close to understanding and yet so far from it.

Interestingly, we do see a resolution -- History Has Its Eyes On You shows Washington elaborating his tragic past and offering the closest we (and Alexander) ever have to an explanation of why he is so concerned about sending Alexander to fight. Washington is worried about Alexander dying, about failing him as Washington failed the soldiers under his first command. “Or you could die!” has so much more emotional power after this confession. Washington relents, they win the day -- but not before Washington offers one last bit of advice. “You have no control: who lives, who dies, who tells your story” -- Alexander never seems to fully grasp this theme, though it will follow him for the rest of his days. Nevertheless, it echoes Washington’s earlier assertions in Right Hand Man about youth and the pointlessness of martyrdom. It also reads to me as preemptive forgiveness -- if soldiers die under Alexander’s command, Washington wants to spare him the guilt of it. But at this point in the narrative, before the battles, before any of the significant deaths, who has died in a significant way in Alexander’s life? Only Rachel. In Hurricane, Alexander notes, “we were sick and she was holding me, I couldn’t seem to die.” There is so much survivor’s guilt in that song, and the OCR performance of it sounds, to me, like the grief is still fresh. Decades later, and the wound has not yet closed.

I doubt Washington knows about Alexander’s past -- our protagonist is much too eager for advancement to admit to his roots. But we as the audience know. Intended or not, Washington’s line, caution and forgiveness all at once, offers if not a solution, then comfort, for the trauma Alex has carried and will carry until he sees both Rachel and Washington at the ends of things.

How to say goodbye -- on One Last Time

Fans of the Washington/Hamilton dynamic will, most likely, be a fan of One Last Time. This may seem counterintuitive; it is, after all, their final song together, where Washington exits the narrative and Alexander’s life permanently. In reality, the fondness for this song comes from the fondness shared between the characters. The most representative of this, in my opinion, is Washington’s gently exasperated, “Shh, talk less,” expressed when Alexander still believes the issue at hand involves Jefferson. It’s a fascinating twist of the words Burr used at the musical’s beginning to undercut Alexander’s loudmouth tendencies. We know this because Washington urges Hamilton to “pick up a pen, start writing” later in the song. Washington sees the value in Hamilton’s words, so him saying “talk less” is more endearment than insult. This line, and the closeness it gestures at, serves my purposes here because it indicates a strong bond between the two characters that Alexander simply did not have with James. He has accepted, up to a point, Washington’s affection, and seems happy enough with it until Washington informs him that he’s leaving. This is in and of itself significant -- just as I posit that Alexander’s reluctance to become close to Washington stems from Rachel’s loss, so too does his relative acquiescence indicate to me the beginnings of healing, or at least coming to terms with the loss of a much-beloved parental/authority figure.

And then Washington leaves.

There is an interesting creative choice made towards the end of the song. Alexander, finally (if reluctantly) accepting Washington’s resignation, echoes Washington’s intent: to “teach [America] how to say goodbye”. Washington finishes the thought, “You and I,” and then, “Going home.” At a glance, these are two separate thoughts that happen to be placed back to back, and as a result, when sung, sound like one thought. They don’t make narrative sense otherwise: Alexander and Washington are never in the same place again while alive. The lyrics hint at a unity, a home, that doesn’t exist. I see a connection, here, between this strange line and Alexander’s assertion in Helpless that he’s “been without a family since [he] was a child”.

That’s the crux of it. Alexander isn’t going home. He is, in a very real way, losing the one home he could reliably depend on since the war: Washington. Here is perhaps the greatest argument that James is the ghost haunting Alex, not Rachel. Washington leaves. However, we once again look to the end of Alexander’s life -- he sees his mother, and he sees his general. James’ abandonment was never forgiven, but Alexander does not equate Washington leaving office with that trauma. There is far more of Rachel’s legacy here, of love and remembrance and loss, than James’. To explain this, we have to look at the purpose One Last Time serves within the narrative: it’s Washington’s last song, in every meaning of the word. He dies, sometime after the song, and that twists his exit into an echo of Rachel’s. It is, in many ways, the goodbye Alex never got as a child, from either parent. Of course he sees Washington at the end of it all. Of course he sees him immediately after he sees Rachel. All of these threads have always been tied together.

What is a legacy? -- On the point of it all

More talk about Rachel needs to happen, or at least the idea of the maternal figure in Alex’s life, in the way that James is obliquely referenced as a void in discussion of Alexander’s “daddy issues”. Because Rachel is there. Rachel is a literal ghost in the musical, and the characters that take on her mantle are Eliza and George, from the beginning. They are the characters that sing about Alex’s childhood, they plus Angelica are the ones warning him in Hurricane. Eliza tries but she is ultimately not enough -- through no fault of her own -- to stop Alex from destroying his (their) life, or from dying. This is rather baldly demonstrated at the end of Act One -- Eliza asks, heartbroken, “Isn’t this enough to be satisfied?” as Alexander rips his arm from hers and Angelica’s grasps to climb the scaffolding to Washington. Here, “this” is her, and Philip, and the idea of family and domesticity that Alexander referenced in Helpless. It isn’t enough -- explanations for that could take up a separate paper, but for my purposes, it’s enough to say that much. But, as a brief aside: it’s telling that his contact with his son goes from the idealistic newfound joy of Dear Theodosia to the distance in Take a Break, his mind still on work on his son’s birthday: “Hey, our kid is pretty great,” Alexander says, with something that smacks of surprise. There is another, significantly less optimistic, paper in that -- Washington isn’t the one carrying on James’ legacy in any sense. There’s an argument to be made that Alexander is.

Therefore, if the end goal of this entire intellectual exercise is to seek a hypothetical solution of some sort, we have to briefly return to One Last Time and Alexander’s relative comfort with Washington’s emotional proximity. There’s a glimmer of hope, both there and in the well-established fact that Alexander will uproot his entire life to come when Washington calls. Despite his best efforts, Alex is allowing an emotional closeness that I would argue he has not seen or experienced since childhood.

We see this foreshadowed in Meet Me Inside. Hamilton wants to die, has wanted to die since Rachel did. In Hurricane, we hear him say, grief-stricken after all these years, that he “couldn’t seem to die”, a word choice that definitely indicates a desire, or at least an exhaustion that acted similarly, to die. In MMI, he says he is “more than willing to die” for the revolution, and, it could be drawn from the context of the argument, for Washington. And to die for Washington? To see him victorious, or at the least safe? Isn’t that a way to somehow staunch that lifelong ache, that sense of guilt and failure and regret from his childhood? There’s something to be said for the warmth in Alexander’s voice during Yorktown: “I see George Washington smile.” In the midst of this glory, this victory he’s been craving from the beginning of the musical, Alexander takes time to make note of this. To me, it reads a bit like shorthand for a greater theme we’ve been dealing with. They’re both alive, and Alexander is satisfied without dying a martyr’s death, because he helped lead them to victory -- and, I’d argue, because Washington made it. He’s alive, he’s victorious, and that’s enough -- enough to make Alexander go back to being his “secretary” even after the war is over. He’s reframing his definitions of success based on what Washington taught him, and we see genuine growth here. There is also an unmistakable echo between “I see George Washington smile” and “I’ll never forget my mother’s face” from Helpless. That was real. That had meaning. Alexander so rarely comments on faces, on physical appearance (unlike the Schuylers in Helpless/Satisfied, as has been mentioned extensively) that this connection seems fairly significant.

If it’s possible for Rachel to have a successor in caring for Alexander, I would make an argument that it’s Washington -- or at least that from all the characters we see in the musical, he’s the only one with the potential to take on that role successfully and have Alexander listen. We know this because he has done it, successfully, throughout the musical. Much has been said about how Alexander’s life goes to hell after Washington leaves, and that’s the point. Alexander has been without a family for years, and that means he has been without guidance. Washington fills that role, without a doubt.

If Washington were played by a woman, I doubt this would be overlooked -- indeed, I wonder if this essay would be necessary at all. To miss these connections on the basis of gender, I think, does a disservice to the many possibilities of analysis presented in this musical.

Alexander made a lot of promises in Helpless that he fails to live up to as his story unfolds. The World Was Wide Enough proves that he keeps at least one. He never forgot Rachel’s face, “that was real.”

He never forgot Washington, either. That was real, too. The fact that Washington is the only hallucination/ghost who is actively “watching” Alexander suggests some reciprocation on this theme, or at least a desire for it on Alexander’s part.

“Daddy issues” isn’t even the half of it.

#whamilton #alexander hamilton #george washington #rachel faucette #hamwash #meta

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tikibuns · 7 years

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Throwing Away My Shot AU Timeline

For everyone’s pleasure, here’s a lazy sort of timeline for the Assassin AU. It should be noted that it’s also a crossover with Assassin’s Creed 3 because that’s the brand of assassin we went with.

It’s also subject to additions/alterations. Enjoy!

Connor starts helping Washington and co. against the British.

Ham & Friends join the revolution.

Hamilton becomes Washington’s Right Hand Man(tm)

Lee shits the bed at the Battle of Monmouth.

Connor and Lafayette snatch a stalemate from the jaws of defeat. (Probably where Alex finds out about the Brotherhood.)

Laurens-Lee duel in which Laurens gets shot.

Washington has to send Ham home because he’s irrational, upset, and basically freaking out. (He doesn’t actually go home.)

Hamilton impulsively seeks out the Brotherhood and finds himself at the Homestead, begging for training and acceptance.

Achilles starts to train novice Hamilton with Connor’s reluctant help.

Laurens is sent home. He still sends letters to Hamilton.

Hamilton actually realizes that he’s throwing away his shot and has a a struggle trying to decide whether he actually wants this or not. (He decides he does despite the fact that he’s wanted ALL OF THAT for his entire life.)

Hamilton graduates from novice to full blown assassin.

Yorktown happens.

Hamilton actually goes home and gets to meet Philip. Lafayette goes back to France. Mulligan goes back to sewing pants. Laurens is well enough to be on his feet.

Hamilton keeps himself incognito as a lawyer so he’d have excuses to work hard/go places.

Burr gets to be in the Room Where It Happens from the start. (He basically takes Hamilton’s role. He gets all the positions Ham would have gotten.)

The Brotherhood loses track of Lee.

Hamilton frequently disappears to do assassin things. (It’s safe to assume in between all of this, unless stated otherwise, he’s doing this.) Eliza gets more worried.

The Hamiltons and the Burrs get more friendly.

Hamilton stops answering Laurens’s letters.

Mulligan finds out accidentally that Hamilton is an assassin. He decides he wants in on it. He becomes a sort of informant.

The Brotherhood continues to take out Templars that they can get ahold of. Both have a vague notoriety in gossip.

Eliza tries to get her husband to take a break.

Angelica comes for a visit. She and the rest of the family go upstate.

Laurens confronts Hamilton because he misses him and doesn’t understand what he did wrong. Hamilton won’t tell him, so things get even more strained between them.

Uncertain blank space of time.

Eliza and the family come home.

Connor gets into misadventures with his father Haytham.

Another uncertain space of time.

Mulligan barges in one day because HAMILTON NEEDS A NEW SUIT CLEARLY. The real reason? He got a letter saying that a certain FRENCH BREAD IS IN PRISON.

Hamilton up and leaves abruptly with Mulligan and begs Connor to take them in the Aquila. He agrees though he’s disgruntled.

They get to the rendezvous point and lo and behold Angelica is there. Needless to say, she and Alexander have a moment of “what the hell” at each other.

They go on an extreme rescue mission and break Lafayette out of prison.

Lafayette insists that they also smuggle his family out, so that’s another fun mission.

They smuggle Lafayette and his family back to America because there’s no way they’ll be safe in France. (He’s reluctant, but he’s already helped plant the seeds of revolution. It’ll be good.) The Lafayette fam lives with Mulligan.

Lafayette decides he wants to be an assassin, too, so he’s one of Ham’s recruits.

Haytham gets rekt, so Lee is pretty much the only one left.

The Brotherhood is hot on Lee’s trail. Connor and Alexander both want him dead, so that’s two different branches.

If Connor gets to kill Lee, then it ends the AC3 way. It’s a subdued victory, but the job is done. Alexander can finally relax, and he might actually feel okay enough to talk to Laurens again.

If Alexander gets to kill Lee, there’s a lot of anger and shouting, and he’s ruthless about it. He’s wanted this forever. He tells Lee straight up why he’s after him. Lee actually almost forgot about that whole deal, so he’s like “What the fuck”. He straight up murders the guy violently, but it’s still a bittersweet victory because he spent so much time seeking revenge that he lost all of himself.

And yeah that’s all I got. Stuff will be added/changed probably.

#Tiki Text #assassin au #throwing away my shot au

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unfair--verona · 7 years

Text

HEAR ME OUT ON THIS

cause I just had a long discussion about it and I’ve come to many conclusions

HAMILTON CHARACTER HOGWARTS HOUSES

if your opinions differ hmu i’m looking for healthy discourse

This began as a buzzfeed quiz in which one could sort the Hamilton characters into Hogwarts houses and I was BAFFLED at some of the choices that the internet had collectively made for these people. Here I present to you my official dissertation on the true houses of these historical figures.

It should be noted that no person or character is two dimensional and thus each possesses traits from each house. There are a plethora of factors to take into consideration before making a sorting decision.

Hercules Mulligan: Gryffindor

we’ll start off with someone rather non-contentious. Our pal Herc has mad nerve (”when you knock me down I get the fuck back up again”) and is without a doubt daring and brave. The dude was a spy in the british army???? Amazing

Marquis de Lafayette: Hufflepuff

Alrighty please consider the defining traits of a hufflepuff in regards to our favourite fighting frenchman:

You might belong in Hufflepuff Where they are just and loyal, Those patient Hufflepuffs are true, And unafraid of toil;

Laf literally packed up one day and bid farewell to his wife in France to go fight in another country’s war because he cared about it. His loyalty is very steadfast despite being to two distinct nations. Though some might argue this negates the argument of his loyalty because his attentions are so divided, I think his unwavering support of both just doubles his capacity for loyalty. He participated in what he felt was right because he felt it was right. Whatever the cost he chose to take part in both conflicts. YES he’s also brave, (the buzzfeed poll indicates that 37% of you think he’s a gryffindor which is FAIR) but I think that though he exhibits the traits of a gryffindor, his hufflepuff characteristics are stronger. (Also, apparently, 36% of you think he’s a ravenclaw??? sources pls i don’t see it) Lafayette is defined by justice, loyalty, and yes bravery- he is unquestionably “unafraid of toil.” HUFFLEPUFF

John Laurens: Gryffindor

K I have a lot of problems with the poll on Laurens. 50% of those polled think that Laurens is a hufflepuff and I think that this goes along with the stereotyping of hufflepuffs as delicate cinnamon rolls. We all love John, we know he’s a lil cutie pie, but I think that he is defined by his nerve and chivalry. He deeply cares about equality and fighting for those who are unable to do so for themselves. His recurring passion in the show is the fight to end slavery. He dueled Charles Lee on Hamilton’s behalf when Alex wasn’t able to do so himself. Laurens went out of his way to put himself in the line of fire for people/causes he cared about regardless of the consequences.

George Washington: Ravenclaw

I think that GWash is often characterized as a gryffindor because of the image him of the military general and all around hero, but more prominent than his bravery is his calculating intelligence. Early in the revolutionary war he retreated his men for miles and miles without letting up the fight so as to not wring them dry before the war was up. He fought a losing battle for a long time but managed to lose strategically so as to still have soldiers to fight when they were able to push back. He stepped down from the presidency when he could have continued so as to ensure that the transition would be smooth and America would be able to self-sustain without him. Each of his actions were carried out with thorough thought and consideration.

definitely though, the case could be argued for him being a gryffindor. I think he’s a very near split.

King George III: Gryffindor

Like, sure? He’s in this weird boat of I don’t think he has enough clear characteristics to fit into another house. He’s more of a process of elimination. He’s not a slytherin, ravenclaw, or hufflepuff, soooo

I think he tries to embody gryffindor traits enough that he manages to sooooort of do it?

Actually if you have thoughts on this please tell me I want more insight.

Maria Reynolds: Slytherin

First and foremost Maria is not a slytherin because of her vaguely antagonistic qualities in the show. She serves as a vessel to convey part of Alex’s character and winds up being a very significant series of plot points. We love to hate her because she was Alex’s big mistake, but that’s not what makes her a slytherin. She went to Hamilton’s home with a goal in mind. Girl knew what she wanted and she got it. She was driven, sly, goal-oriented. “just give him what he wants and you can have me” to her lover, a married man, about her husband

Or perhaps in Slytherin, You'll make your real friends, Those cunning folk use any means, To achieve their ends.

Thomas Jefferson: Ravenclaw

To vaguely quote Daveed, Jefferson wrote amazing words but he sucks. He wrote long and eloquent passages with inspirational messages and all that jazz, but he also just sort of got handed success and didn’t have to do a lot of fighting. This rules out the potential for him being a slytherin: he didn’t have to be cunning and ambitious to get anywhere, he just got there. He was fabulously clever and used it well, and to his advantage, but not with enough intent to be classified as a slytherin.

James Madison: Ravenclaw

prolly? help me on this one

he’s not a hufflepuff though which is what buzzfeed indicated

Angelica Schuyler: Ravenclaw

Lin has literally said himself that Angelica is the most intelligent character in the show. She raps because she matches Hamilton’s intellect. The first time we meet her she talks Thomas Paine and feminist constitutional reform. I think she also exhibits a great deal of loyalty to her sisters, particularly when she acknowledges that Eliza would hand Alex to her if she asked but chooses not to to preserve Eliza’s happiness. Intelligence, though, is the characteristic most emphasized in the show.

Eliza Schuyler: Gryffindor

Eliza begins the show looking a lot like a hufflepuff (”you’ll never find anyone as trusting or as kind” LOL) but winds up taking the reins in the show and shaping her own legacy as well as building and maintaining Alex’s. Her spectacular perseverance, drive, and daring nature make her a true gryffindor by the end. Forgiving Alex for his misdeeds also takes a great deal of courage.

Peggy Schuyler: Gryffindor

Why does everyone think my girl Peggy’s a hufflepuff?? I think she’s a victim of “we don’t really know her, guess she’s a hufflepuff” syndrome which is rarely accurate and sheds a weird light on hufflepuffs as a whole lol

Please consider this fantastic story taken from her wikipedia article:

On August 7, 1781, a group of Tories and Native Americans forced their way into the Schuyler Mansion in Albany, searching for Philip Schuyler, whom they intended to make a prisoner of war. Eliza and Angelica, who were both pregnant, ran upstairs to hide, but soon realized they had their newsborn baby sister Catharine downstairs. Peggy went downstairs to get the baby, but was threatened by one of the Native Americans who asked where Philip Schuyler was. Thinking quickly, Peggy replied that Schuyler had “gone to alarm the town.” Fearing capture, the raiders fled, but one threw a tomahawk at Peggy, who was running upstairs with the child. The tomahawk left a cut mark in the banister, which the Schuyler family supposedly left in place as a memento.

fight me she’s a gryffindor

Philip Hamilton: Gryffindor

Philip “you said something bad about my dad we’re gonna duel” is brave as HELL

“I’m a little nervous but I can’t show it”

he literally had to ask his dad how to duel beforehand because he didn’t know what he was doing but felt strongly that it had to be done. Not for glory or legacy or any of that, just to defend his father’s name

You might belong in Gryffindor, Where dwell the brave at heart, Their daring, nerve and chivalry, Set Gryffindors apart;

literally try to tell me he’s not a gryffindor i dare you

Aaron Burr: Slytherin

k now we’re getting to the challenging ones. When it comes to Burr I try to bear in mind that his actions could be attributed to pretty much any house but his intent and motivations are what make me inclined to sort him as slytherin. He literally had so little policy that he was endorsed for president by two political parties. He also CHANGED political parties just to try to get further. His few beliefs were so malleable he could stretch them in any direction if it looked like he could succeed more that way. He was after success. He wanted to make a name for himself. He was hunting for a legacy and it didn’t really matter what that legacy was until it became “the guy who shot his longtime rival”

Alexander Hamilton: Ravenclaw

A. Ham, I believe, is a perfect blend of ravenclaw and slytherin. He’s ambitious, clever, sly, witty. He fought hard for family and legacy, which is a distinctly slytherin trait, but his honesty is what convinces me. If his ambitions were purely glory, legacy, etc he never would have published the reynolds pamphlet. In protecting his image as a public servant he knowingly ruined the rest of his persona as well as many aspects of his personal life. A slytherin focused on success would never have made such a mistake, even if slytherin!Ham had had the affair he would have thrown tjeffs and madison off his case some other way. He also literally wrote himself off Nevis and to the mainland and wrote his way to nearly every other success he had. He was super witty, pulling receipts on Jefferson and Burr at every opportunity, and used his intellect to his advantage (which, yes, is a lil slytherin-esque.) The final straw, though, to me, is that the sorting hat takes preference into account. Hamilton is a perfect balance of slytherin and ravenclaw, but when it comes down to it I believe he would rather be categorized as a ravenclaw- and with a balance this precarious that’s all it takes.

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imagine--buddies · 7 years

Text

Reckless-- Phillip Hamilton

Request!: “ Requesting a Philip Imagine where the reader is in love with Philip and ends up taking Eacker’s bullet? “ AND “ Can you do a Phillip one where the reader is Burr’s daughter and they meet when They are both taken to their fathers’ work and they fall for each other. “

Paring: Phillip Hamilton X Reader

TW: drinking, dueling, eacker being a DICK, language?, death

WC: 2838

A/n- THis is now our biggest fic at almost 3K words. It’s also the first fic where we combined two request! We did not expect it to be this long but…

Masterlist

You met Philip when you were young.

Your father carried you into his office for ‘Bring Your Child To Work Day’. You were ecstatic. You idolized your father and the fact you were going to learn about what he does was all you ever wanted. You looked around at all the decorations set up around “Goodmorning, Aaron, how are- Oh my God is that her?!” A strange woman’s voice brought you out of your trance. You turned your head, and looked at a woman in a light blue dress. Her smile was bright, and you decided then that you liked her. “Hello, Y/n, mice to meet you.” “Hello!”

“Princess, this is Eliza, she’s Alexander’s wife.” You father told you.

“Hi Ms. Eliza!” You waved your tiny hand at her as you gave her your biggest smile.

“She’s adorable.” Eliza said happily. “Would you like to meet my son?”

Your eyes lit up, you desperately wanted someone to play with. You nodded enthusiastically, and then looked to your father for confirmation. He smiled at you letting you know it was okay.

“Phillip?” Eliza called, and a few seconds later you heard the small putter patter of feet, and a small boy with curly hair entered your field of view.

“Philip, this is (y/n), she’s Mr. Burr’s daughter.”

“Down. Down.” You told you father, and he followed your wishes, letting you down. You skipped over to Phillip and said ‘Hi’. “Hi,” He said back, “my name is Phillip. I’m a poet.” “Well Philip the poet, we’re best friends now.” You smiled. You could tell this would be the start of an adventurous friendship. ——————– You couldn’t believe your eyes. In your hands was Alexander Hamilton’s newest pamphlet. You ripped up the Reynolds pamphlet and raced to the Hamilton estate to find Phillip. You knocked on the door, and it opened immediately. Angelica, Phillip’s aunt, answered the door, “I’m sorry but we- Oh, Y/n.” “Where’s Phillip?” You immediately asked. “Thank you for coming, darling,“ She led you into the house to the stairwell, "he’s been in his room and won’t come out. I hope you can reach out to him.” "I hope I can. Send Eliza my regards?” “I will.” You passed Angelica and rushed up the stairs to Phillip’s room. You quietly knocked on his door, “Phillip, it’s me (y/n), can I come in?” You heard no answer. After a few seconds, you opened the door slowly. Your eyes drifted to his bed, your felt heart shatter even more at the sight in front of you. He was shaking, you could see it from your position. He was facing away from you. Tears stained the 84? papers in front of him as straggled sobs came from him. The sight broke your heart. You quickly entered the room, closing the door behind you. Crossing the room, you slowly sat down at the foot of the bed. You knew he didn’t want to talk so you settled for simply pulling him into a hug. He cried onto your shoulder, the tears wetting the shoulder of your dress. He was shaking worse than what you saw. You rubbed his back, attempting to calm him. “I’m here Phillip, I’m here.” A few hours of crying and soothing later, you wiped the tears from Phillips face, and gave him a smiles He tried to return it but failed. “I can’t stay here anymore. It’s driving me crazy staying here.” He looked away from you to the pamphlets in his hands. You took them out of his hands, and placed them on the bed behind him. “We can go walking, yeah?” You suggested. Phillip nodded, “Yeah, can we go to the park? The one with the big oak tree?” “The one you fell out of when we were eight?” You tried to bring up the funny memory. A small smile emerged on his freckled face. “Yes, that one.”

——————–

The two of you walked towards the big oak tree that stood tall in the middle of the park.

The memories there made you smile.

“What are you smiling about?” Phillip asked. You didn’t notice he was staring at you

“The good ol’ days.” You said as you reached the base of the tree.

Phillip sat down near one of the roots and pulled you down to sit with him, holding you close. "I’m sick of it all, (y/n).” You stayed quiet and let him talk “My father had an affair behind our backs and no one knew! My poor mother, and my siblings, they don’t deserve to go through this so young. This isn’t fair to them, to me.” "You’re right nobody should go through this. Especially not you, or your family.” You looked up at him. “But you can’t let this define you. You have to persevere, to be strong, because you are.” He was silent, analyzing your words, until he spoke up, “Run away with me.” “Philip-what?” He sat up, forcing you to as well. “You heard me. Let’s go somewhere! We can go to South Carolina, Georgia, Massachusetts- What about France? Come on, you know you want to, what do we have here?” “Phillip, you family-” “My father obviously doesn’t care about us, and it’s not like I’m the only child.” “Yeah, but your mom needs you, now more than ever. Your siblings need you. What do you think will happen if the person they look up the most suddenly leaves in a time of crisis. I won’t do that, and I certainly can’t let you.” “Fine, but promise me we will someday. We’ll go to France, England, wherever you want to go, just… promise.” You sighed, “I promise.” You didn’t expect that promise to be broken so soon. —————— It’s been weeks since the Reynolds Pamphlet. Phillip is at least on speaking terms with his father. His mother still won’t be in the same air space as him. But right now, it was Phillip’s graduation day. “Meet the latest graduate of King’s college, (y/n)! I feel so…Free!” “Congratulations, Phillip, I knew you could do it!” You engulfed him in a hug. “Now. I have to see a Mr. George Eacker, but after that I say you and I go get some celebratory drinks?” “Are you asking me out on a date Phillip?” “Maybe? Are you accepting?” “Yes. Just make sure you don’t do anything reckless.” ——————– “You did something reckless.“ You said as the two of you walked out of the theatre. "I did something to protect my family’s honor.” “You mean your Father’s honor.” You spat. “Y/n, I can handle myself. So what, if It’s for my father?” “But a duel, Philip? Seriously? You could get killed!” “Most disputes die, and no one shoots.”

“Philip, don’t do this. I don’t want to lose you.” You pleaded.

“You won’t lose me, Y/n.” Phillip sighed and brought you in for a hug. “I’m going to go talk to my father, then go to the duel. Afterwards, if you want, we can go to France, leave it all behind, yes?”

You didn’t answer as he kissed the top of your head, and left you alone at the bar.

You got up, from your seat and went to leave, but stopped halfway. You turned on your heel and went to the bartender, waving a hand for him to come over.

“What can I do for you, miss?”

“Could you be able to tell me where Mr. George Eacker is?”

——————–

“Mr. Eacker!” You piped up as you saw him exit the theater. When he didn’t turn around you called out again, “Mr. Eaker!”

“What?” He answered, annoyed, “I’m just trying to have a peaceful night, and I swear nobody wants to just leave me alo- Oh, aren’t you Phillip’s girl?”

“Excuse me? I am not Phillip’s- you know what, never mind. I have a proposal for you, if you’ll just listen.” “Might as well, make it quick, I have a duel to do.” “And you will get your duel, just not with Phillip…” “Then with who?” You hesitated, “With… Me.” “Hah! I will not duel a woman.”

‘Maybe if I crossdress…’ You thought to yourself. “Why not? Are you afraid you’ll lose?” “Certainly not! I just… It’s not proper. Now I really must go…” “I’m not asking you to duel me to prove anything!” You shouted angrily. “I want him to live, and getting into a duel because of something someone else says, is not worth losing him over.” “Fine, I’ll duel you. Only because you won’t shut up. Let’s go before your lover boy shows up.”

——————–

You never thought you would have enough courage to duel someone, but here you are, on the dueling ground holding your father’s pistol that you stole this morning.

“Ten paces!” Eacker’s second called out. You turned around and took a step

One

You thought about your father, he had been there for you through everything. Your mother wasn’t around, so you were his everything. You couldn’t lose this, he’d be devastated.

Two

Your mother crossed your mind. Would she even care if you had died? You weren’t supposed to be alive in the first place. You were born out of an affair.

Three

You never really stood a chance in life. You wanted to go to school, learn how to do something besides how to be a proper lady. In today’s world women were only supposed to be married off and birth children. You never saw that in your future.

Four

You remembered the stories your father had told you about the war. Many duels took place. He told you of the duel between John Laurens and Charles Lee. You swore you would never duel anyone… So much for that.

Five

‘Maybe this is for the best.’ you muttered. Almost there, just a few more steps.

Six

Phillip. The one person in your life who was always by your side. He was your saving grace, the one to keep you going. He’s gonna do great things in life, he’s just too much like his father. Always defending his honor. You weren’t going to let him throw away his life because of a duel. He could live without you, he’ll carry on with his life and find some girl. If he died however, your life would fall apart. You couldn’t imagine a life without him. He was your everything.

Seven

You loved Philip.

BANG.

——————– Phillip exited his father’s old house with, surprisingly, less confidence than what he had when he entered, and his father’s dueling pistol. Phillip made his was back to the theatre where he was supposed to meet his dueler. A few minutes later, Phillip began to think that George had blown him off. He stopped a nearby usher, who was closing up the doors of the theatre, surely he knew what happen to Eacker. “Excuse me sir, have you seen a man, named George Eacker, by any chance?”

“He just left… with a young woman that looks a lot like your girl.”

“Why did they leave?” Phillip asked hesitantly hoping that he was the only one who did something reckless.

“I heard something about a duel, but who knows. They went that way if you need them.”

Phillip’s face paled. You had done something reckless. He shot off a short thank you and sped off towards the dueling grounds

‘I’m such an idiot!’ He yelled at himself.

Phillip ran faster and faster until he heard the ten pace countdown. “5!” Why had she agreed to this? “6!” Why had Eacker agreed to this? “7!” A loud 'Bang!’ interrupted his racing thoughts. His steps faltered when silence fell. It was broken by a shrinking scream, and Phillip’s legs finally got the message to start moving again.

—————— Suddenly you were on the ground with blood pouring from your dress. Unbearable pain washed over you so quickly you worried you were gonna pass out. “(Y/n), oh god no this is bad.” Phillip appeared at your side, quickly applying pressure to your wound. Through your squinted eyes you saw tears threatening to fall from his eyes. His expression went to sadness to worry to anger in a matter of seconds, he turned his head to face Eacker. “Eacker, you better bring your doctor here right now or else I will shoot you!” He screamed. You winced. Eaker shook his head, and motioned for the doctor to go over to you. “She wanted this. You and her, should have just kept your mouths shut.” And with that, he left. The doctor knelt near the two of you and assessed the situation. “Keep that pressure on her wound. I can do more at my office than out here.” “How far?” You choked out. He sent an apologetic look to you. “Try to stay awake. The pain…” The doctor sighed. “Try to stay awake.” He motioned am for someone else to come over so they could help you to the office, but before he could, you stopped him. “I said. How. Far?” You stood your ground, not wanting to be ignored.

“It’ll take at least 20 minutes. In that time, you might bleed out.” “Then don’t bother, sir if you may. Find my father, Aaron Burr.” Nobody moved, they were completely against just leaving you here. “You heard her…” Phillip trailed, trying not to let his sobs escape him. “Go get her father!” “Phillip. It’s okay.” You said weakly. “No. It is not okay. You got shot!” Phillip didn’t know he was crying til you reached up to wipe the tears from his face. Though, the moment you did so, you winced in pain. Phillip saw, and lowered your hand to rest on your stomach. He looked up at the doctor, “Can you help her?” “I will try.” “What no. I’m not going to make it… Just please, go get my father.” You breath was labored. “He will be here, Y/n.” Phillip smiled in reassurance. The place where Phillip was putting pressure gradually became more numb. Phillip glanced to the doctor, you saw him mouth ‘hurry’. The doctor nodded mournfully before taking off towards the city.

You turned you head and saw Phillip looking pale fully at your wound. “Phillip…” You out your hand up to his face, trying to direct his eyes away. “Phillip look at me.”

“Why did you do it (y/n).” You saw his broken expression face you as he spoke. You felt your own heart break. “Remember what I said a few weeks ago Phillip. About your family.” “Yes… my parents need me, and I know that, but dammit, (Y/n), I need you too!” Phillip was crying again. “I love you.” “I…love you too, Phillip. That’s why I had to do this. I couldn’t live without you.” You teared up. Your wound was still bleeding and you were becoming weaker by the minute. “What makes you think that I could without you?” You fell silent. Watching the sun slowly rise above the city. “I… don’t want to argue, can… you tell me… of all the places… we’ll visit?” You breathed out. Your eyes felt heavy, threatening to close for good. “Well… We’ll go to France first.” You would never go to France. “We’ll see the Tower, visit Uncle Lafayette and Aunt Adrienne.” He removed one hand from your wound, the less bloody one, to smooth back your hair from your face. “Then we’ll go to England and egg the kings castle.” You would never go to England. “Then finally we’ll come back here, to America, and we’ll live Uptown. It’s quiet uptown. We’ll get married, and you will live, and it will be like none of this ever happened.” You sighed. You wanted nothing but to do the things he described, but you never would. “That sounds wonderful, Phillip. I’m looking forward to it.” Your hand slowly found its way to Phillip’s cheek, cradling it as if he were the one dying. You gazed into his eyes so they would be the last thing you saw. Your father was never going to arrive on time and both of you knew that. Phillip gave you a smile, taking away the other hand and holding yours. “Phillip? I’m tired.” You struggled to get out your sentence, the time had come. “I know, my love, but stay awake. I know you can.” His voice sounded distant, even thought he was merely inches away from you. You could vaguely make out footsteps coming from the city. “See, your father’s here. Just hold on a little longer. Please.” Phillip was full on sobbing now, his fresh tears hitting your face. Your eyes started to droop, begging for sleep. “Phillip, I need you to promise me something.” you were fighting for consciousness. “Y/n!” You heard someone yell, most likely your father. You were going to miss him. You gave Phillip’s hand a squeeze, “Live on, my love. Do what I never could.” You eyes started to close for the last time. “Blow us all away.”

Oops…. our hands slipped…

Masterlist

#phillip hamilton #phillip hamilton x reader #phillip hamilton imagine #phillip hamilton imagines #hamilton blog #Hamilton imagine blog #hamilton: an american musical #hamilton #imagine buddies werk #imagines blog #hamimagines #ANGST #anthuary

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