Your Obedient Servant

Lin says in Hamilton: The Revolution (p. 16), in a note on the show’s opening number:

The piano riff that begins this show is actually inspired by a beat I made. I wanted the sound of a door slamming as the downbeat, and in my computer music program I grabbed a sound file called “Door Wood Squeak.” The sound of the wood squeak was so compelling I set it to notes."

It seems likely that he was referring to this song, when the iconic riff/door squeak appears again, this time complete with the slam on the downbeat.

The door in question is likely the metaphorical door to “the room where it happens,” as Hamilton’s support of Jefferson for president (and Jefferson’s subsequent determination to sideline Burr in his administration) has prevented Burr from being able to exercise any influence or power in politics.

Now speaking behind closed doors, Burr feels free to tell us how he really feels…

A much meaner rephrasing of the opening lines of the show—Burr’s seething frustration comes through in the music here, as Odom speaks this familiar refrain more slowly, almost arhythmically, in a steady crescendo until he begins to sing at “I wanna be in the room where it happens.”

The is the first time Burr seemingly uses “bastard” for its secondary vulgar meaning whereas up until this point it was simply a statement of his upbringing.

In “The Election of 1800,” Hamilton states that Thomas Jefferson has his vote despite their opposing political ideologies, the reason being “Jefferson has beliefs, Burr has none.”

A reference back to Burr’s showstopper earlier in this act. He’s revealed what he wants, and it’s been foiled. He outright states what’s turned him to antagonist in the context of the play—his belief that Hamilton has willfully stopped him from becoming an insider.

This also seems to be the moment where Burr completes his transformation from patient political observer to rash political schemer. Or, more historically, from sensible Princeton prodigy to the guy who tried to become king of his own country made out of the Western territories and Northern Mexico.

Ironically, Burr’s political career is ruined after killing Hamilton—so the election of 1800 was not “the last time” Hamilton kept Burr out of the room where it happens.

This is can be seen as a dark reprise to “Dear Theodosia.” That was a positive epistolary song that also happened to be the only clear duet between Burr and Hamilton. Since then, Burr has suffered many losses and defeats, mainly due to Hamilton. Perhaps as a result, the tones of his letters have changed…

In the choreography of the show, Burr is handed a quill by an ensemble member to write this letter and begin the chain of correspondence that directly results in his fatal duel with Hamilton. Interestingly enough, this is the same ensemble member who plays “the Bullet” who kills Hamilton in the duel, reinforcing the symbolism of the Bullet as a symbol of impending death.

In the Off-Broadway production, the lyrics were:

Dear Alexander:
I submit for your immediate perusal
A letter from a Dr. Charles Cooper
Who was kind enough to give me his approval
To reprint a letter that he sent in confidence
He claims that on numerous occasions
You have called me a dangerous man
Furthermore, I ought not to be trusted with the reins of government
Obviously such an accusation
Must be met with either an immediate acknowledgement or disavowal
Now, are you capable of such a thing?

I have the honor to be Your Obedient Servant
A dot Burr

Musically, just before this line, there is a brief instrumental section that fans have noticed sounds a lot like the beat from Eminem’s “Crack a Bottle”:

This line seems to be a nod to Psalm 103, verse 8: “The LORD is compassionate and gracious, slow to anger, abounding in love.”

This makes another of several biblical references for Burr. His first was in “A Winter’s Ball” when he said, “Be seated at the right hand of the father.” He also makes one at the end of “Schyuler Defeated”—“Your pride will be the death of us all / Beware! It goeth before the fall!” Perhaps Burr inherited a bit of the fire and brimstone from his grandfather…

“Toe the line” has two colloquial meanings:

1. To conform or obey rules (like soldiers standing in a line for inspection)
2. To stand at one’s starting place for an athletic event, such as a race or boxing match

Burr clearly has the latter meaning in mind. After a lifetime of restraint, he is now approaching a line he never before allowed himself to cross—allowing emotion to recklessly drive action. By the end of this exchange, Burr stands ready at the starting point for the ten paces of the duel, and has induced Hamilton to do the same.

Burr references how they always seem to “keep meeting”. It seems as if their paths constantly crossing is a sign that their fates were tied together from the moment they first met.

A nod to Les Miserables:

In referencing Les Mis with a melody line that can be found in “What Have I Done?” and “Javert’s Suicide,” Miranda alludes to the decision Aaron Burr is making within this number. In both of the songs in Les Mis, Jean Valjean and Javert look back at their lives and the failings that have lead them to where they are and realize they must make a decision: do I continue, or do I give in? Ultimately, Valjean decides he will reinvent himself and work to make up for his sins. Javert, however, decides the world is not big enough for both himself and Valjean, and he commits suicide.

The call back to those two songs draws specific attention to the fact that Burr feels Hamilton must pay for what he’s said. Furthermore, it adds more weight to his realization that “The World Was Wide Enough” for himself and Hamilton, after the duel.

This could tie into the “check” wordplay throughout the show: in “We Know,” this is explored in great depth. Burr is finally making his move (to put Hamilton in check).

Burr’s letter refers to the Charles D. Cooper letter, in which Cooper (a New York doctor) wrote to Phillip Schuyler (Hamilton’s father-in-law), telling about how Hamilton did not trust Burr:

I assert that Gen. Hamilton and Judge Kent have declared, in substance, that they looked upon Mr. Burr to be a dangerous man, and one who ought not to be trusted with the reins of government.

However, the clause that most offends Burr is this (emphasis added):

I could detail to you a still more despicable opinion which General Hamilton has expressed of Mr. Burr.

In other words, Hamilton thinks even worse of Burr than what Cooper had already written.

These lines echo some infamous hip hop feuds, which sometimes escalated beyond the page and into real-world altercations.

Though Burr is ostensibly trying to keep his cool and “negotiate a peace,” he’s clearly already prepared to take the next step outlined in the “Ten Duel Commandments” and instead “negotiate a time and place.”

Given the threatening nature of the letter, the humble closure seems ironic, and the music certainly plays it off as such. It is, however, how Burr actually signed his letter!

I have the honor to be,
Your Obt. Servt.
A. Burr

“Your obedient servant” was a common way of ending formal letters, and theatre heads may also recognize the phrase from its appearance in The Phantom of the Opera:

I remain, gentlemen, your obedient servant
O.G.

Signing the letters this way is played for a laugh on stage, with Burr and Hamilton standing some distance apart, both facing the audience, and miming signing a piece of paper with a quill as they say “A dot [whichever].” After all, they both agree that duels are “dumb and immature.” This is them acting it.

See transcripts of all the letters here.

The melody of Hamilton’s response mimics his portion in “Farmer Refuted,” which was also an epistolary song (though it is written as a pamphlet and not as private correspondence).

Burr addresses Hamilton at first as a friend (“Dear Alexander”), but Hamilton’s pointedly formal opening line—which highlights the fact that Burr didn’t get the Presidency (partially thanks to Hamilton)—is just the beginning of a frigid letter.

Though at the end of the previous song “The Election of 1800”, Thomas Jefferson refused to make Burr vice president. In real life Burr did become vice president, as it was the law, so this line probably refers to that. In the context of the musical Hamilton might have not yet known Burr didn’t even get vice president, or Hamilton might have intentionally used it knowing it’d hurt Burr.

Here Hamilton, the consummate politician, shifts the blame for Burr’s failures onto Burr himself, stating it was his attitude of ‘talking less, and smiling more’ that got him his reputation of untrustworthiness.

Aaron Burr is famously vague about everything. As Jefferson says about Burr in “The Election of 1800,” “He’s not very forthcoming on any particular stances.”

Burr’s motto “Talk less; smile more,” shows his conviction that the best way to safely rise to power is to keep his opinions to himself whenever possible.

In real life, this was Hamilton’s complaint with Burr too. He wrote:

No compact, that he should make with any [struck: other] passion in his [struck: own] breast except [struck: his] Ambition, could be relied upon by himself – How then should we be able to rely upon any agreement with him?

Hamilton contrasts his own behavior of loud-mouthedness and strong beliefs with that of Burr’s ambiguous “Talk Less, Smile More” attitude.

This is seen at several points within the musical, first seen in “Aaron Burr, Sir”.

For Hamilton, who is pretty blunt, this is somewhat coy. This could show that Hamilton has learned from Burr in more ways than he may have realized, and vice versa.

Hamilton is stating that he, indeed, did not actually insult Burr so publicly. Instead, he subtly says he was only sharing his opinion which he has always “worn on his sleeve.”
Therefore, Burr has no reason to be angered, leading Hamilton to put his anger aside as childishness.

This is the main thrust of Hamilton’s initial response to Burr in which Hamilton (somewhat smart-assedly) tells Burr he cannot disavow an un-sourced, non-specific charge of “a still more despicable opinion which General Hamilton has expressed of Mr. Burr.” Hamilton maintained that it was natural for long-time political rivals to impugn the other’s abilities, and that he didn’t know which of the many things he’d said over the course of their rivalry might rise to the level of a “more despicable opinion” worthy of his disavowal.

Why don’t we take a crack at that itemized list of disagreements:

1. Hamilton questions Burr’s anti-activism in “Aaron Burr, Sir”
2. He dismisses Burr’s warning that loyalists may be present in “My Shot”
3. He defies Burr’s request to stand down against Seabury in “Farmer Refuted”… twice
4. He takes Burr’s position as Washington’s “Right Hand Man” (to be fair, this isn’t really his fault)
5. Despite his sympathy for Burr’s plight in “The Story of Tonight (Reprise),” he still fundamentally disagrees with the ideology
6. The two argue over what fate Lee deserves in the “Ten Duel Commandments”
7. Hamilton refuses to shut up when paired with Burr in court, and won’t take no for an answer on the topic of the Federalist Papers in “Non-Stop”
8. He locks Burr out of the “Room Where It Happens”
9. He gets hella pissed that Burr took Philip Schuyler’s senate seat in “Schuyler Defeated”
10. And of course, he openly opposes Burr’s presidential candidacy in “The Election of 1800”

You can understand why Burr might be a little peeved…

Per Lin-Manuel Miranda:

“Sweet Jesus” is also the catchphrase of Congressional custodian Andrew McNair in 1776. He says it multiple times as kind of a verbal eye-roll in response to credulity-straining comments or events.

Burr knows this better than anyone. He constantly comments on Hamilton’s willingness to speak what’s on his mind with no hesitation, shown in the introduction of “A Winter’s Ball” as well as brief quips in “Wait For It,” “Non-Stop,” and “Washington On Your Side.”

A bit of the old Hamilton swagger comes back in the text and delivery of these lines, as Hamilton—despite the tragedies he’s endured—starts to fall back into his old habits as he writes to defend his honor.

Hamilton also takes this opportunity to heighten what he perceives as the contrast between Burr and himself. While Burr stands “only for [him]self,” Hamilton says that he himself tries to do his best “for our republic.” He not only invokes the thing they have in common and which will undoubtedly outlive them both, the republic—which comes from the Latin “res publica,” roughly the “public thing/good/sphere,” a term that is all about what is common to people—but Ham says “our” republic, emphasizing how he’s the one trying to do what’s best for everyone. Ham says that he’s about unity and something bigger than himself, which even includes Burr, while Burr stands only for himself. Of course, Ham’s obsession with his legacy could allow the audience to disagree with him…

Hamilton’s “Statement on Impending Duel with Aaron Burr” (written in June/July 1804), supports this line.

“I am certainly desirous of avoiding this interview, for the most cogent reasons… [M]y religious and moral principles are strongly opposed to the practice of Duelling, and it would even give me pain to be obliged to shed the blood of a fellow creature in a private combat forbidden by the laws.”

Or as they say in Love and Death (1975): “I just don’t want to waste a good bullet”.

This is a direct call back to the events leading up to the death of his son. George Eacker wouldn’t apologize to Philip Hamilton for what he said about Alexander and Philip died in that confrontation. He tells Philip to avoid a duel at all costs, but Hamilton doesn’t follow his own advice.

Here, Alexander doesn’t apologize for what he said (directly mirroring Eacker’s non-apology) and thus this dispute now merits “further action” from Burr. He cuts off an avenue of resolution that’s been drilled into our heads twice now regarding the rules of duelling, and so leads himself into his final confrontation.

The first time Hamilton meets Burr, he introduces himself with, “I’m at your service, sir.” A social nicety, but said sincerely. Here, Hamilton and Burr sign off their letters with another social nicety referencing servitude, “Your Obedient Servant.” This time, both employ the phrase rather passive aggressively. This serves as a small nod to how their relationship has changed.

One should also note that “A. Ham” is a bit of poetic license to fit the music; Hamilton actually signs his letters “A. Hamilton.”

Hamilton to Burr, June 20, 1804:

I have the honor to be
Your obt. Servt.
A. Hamilton.

Burr was incensed by Hamilton’s glib response to his demands, and he redoubled on his threat of duel.

Your letter of the 20th inst. has been this day received. Having considered it attentively, I regret to find in it nothing of that sincerity and delicacy which you profess to value…Your letter has furnished me with new reasons for requiring a definite reply.

Although Burr’s original letter referred only to one particular (unknown) comment by Hamilton, by this point in their correspondence he (through Van Ness) had demanded “a disavowal of any intention to impeach Col Burr without reference to time and place.” Hamilton had little choice but to admit that he was guilty of, at some point in time, insulting Burr in some way.

This line shows that Hamilton is willing to fight for what he believes in and what he thinks is right, the opposite of Burr’s “Talk Less, Smile More” stance.
This line shows how different the two are is also a reference to the line:

Recall Hamilton’s line from one of the first songs of the show:

If you stand for nothing, Burr, what’ll you fall for?

Despite having once considered Burr a friend, this is an opinion Hamilton has held since the day they first met.

Here, Alexander gives the same excuse that George Eaker gave to Philip (“I didn’t say anything that wasn’t true”).

Up until now, the key of the song has been modulated slowly. (Burr’s first verse starts on Dm and Ham’s last verse starts on Em, A FULL TONE UP).

Basically symbolizes Burr’s darkening temper.
The music cuts and all you can hear are drums over the next line. Burr is all out, and can’t hide it anymore.

This strengthens the connection between the two, and just shows how much they are alike, inside.

The very formal and uptight Burr is so incensed in these letters that he calls Hamilton by his first name. The rhythm of this phrase recalls Washington’s instructions at the end of “Meet Me Inside” (“Go home, Alexander”) and “Cabinet Battle #1” (“Figure it out, Alexander”). It may just be coincidence, but given how well Burr knows Hamilton by now, he may deliberately be pushing the button that Washington installed—when someone speaks to Hamilton that way, he’s probably going to do what they say, whether it’s in his best interests or not.

At the beginning of the song, Burr challenges Hamilton to “name a time and place.” Now we see how Burr is progressively losing his patience with Hamilton, as he ends up naming a damn time and place himself.

Today, Hamilton Avenue in Weehawken, NJ is the site of the Death Rock of Alexander Hamilton. This rock, now topped with a bust of Hamilton, is supposedly the place where he rested after having been shot. The rock was moved in 1870 and is no longer at the actual location of the duel, just a location that’s a convenient place to put a memorial.

As mentioned in “The World Was Wide Enough”, this was also “near the same spot” that Hamilton’s son, Philip, dueled George Eacker in “Blow Us All Away” and died in “Stay Alive (Reprise)”.

Guns. Drawn:

Hamilton misses the beat here. Burr’s previous lines are all spoken exactly on the drum/snare beat in the background while Hamilton’s line isn’t nearly as syncopated, and is said in between the beat.

This shows Hamilton’s hesitation to duel Burr in the first place, an action reaffirmed by the fact that he throws away his shot during their encounter.

It should also be noted that in the Off Broadway production of this song, Hamilton doesn’t miss the beat in the song, responding to Burr’s challenge almost instantly.

Hamilton and Burr have clashed over the course of the play, never managing to agree on anything. This is only the second time that they’ve managed to sing in harmony. Ironically, this time when they fall into step with each other and reach an agreement, it’s on the fact that they can never agree, and must fight despite their initial friendship.

Singing in harmony here not only shows these two men know each other very well, but also reaffirms how similar those two frenemies are (like two sides of the same coin), a motif explored in many moments through the play (“Aaron Burr, Sir,” “A Winter’s Ball,” “Non-Stop,” etc.). Further, it is an inversion of their harmony dynamic from “Dear Theodosia,” with Burr singing the lower harmony and Hamilton the upper. This adds to the sarcastic tone of the letter’s sign-off.

This is 100% a coincidence, but in all the silliness of this song, it is kind of immensely funny that both of these make words that rather fit their characters, i.e. Hamilton is someone who hogs the spotlight, and Burr is a prickly seed casing that latches on and doesn’t let go (a literal thorn in one’s side).

Also, it’s important to note that Burr’s line comes after Hamilton’s – Burr gets the last word in. This foreshadows the results of the duel, where Hamilton will die and his legacy will finally move out of his hands and into the hands of whomever tells his story, while Burr lives; historically, and literally, Burr will always get the last word in.

Also, notice that because Hamilton goes first, it show that he ALWAYS will land on top when it comes to Burr. History will always love Hamilton more. Even though Burr became vice president, he still felt that Hamilton topped him. And history will see it that way too.