Hamilton Song Quotes

My wife's the reason anything gets done, she nudges me towards promise by degrees. She is a perfect symphony of one our son is her most beautiful reprise. We chase the melodies that seem to find us until they're finished songs and start to play. When senseless acts of tragedy remind us that nothing here is promised--not one day. This show is proof that history remembers. We live in times when hate and fear seem stronger. We rise and fall and light from dying embers--remembrances that hope and love last longer. And love is love is love is love is love is love is love is love cannot be killed or swept aside. I sing Vanessa's symphony. Eliza tells her story. Now, fill the world with music, love, and pride.

The chef who cooks without a song on his lips cannot hope to infuse the right carefree improvisatory note into his art.

...to limit the meaning of Aslan simply to lion from Turkish is to miss its deep northern resonances and the song of the snowflakes whirling around it. Lewis admitted that, as a boy, he had been ‘crazed by northern–ness’ and there are many subtle references to Norse mythology in the story. In fact, if we treat Aslan as a word from Old Norse, it simply means god of the land. By combining that meaning with Turkish lion, it is essentially cognate which Welsh, Llew, lion, the very word from which the name Lewis is derived.

No one recorded what those marches were, though decades later there was an apocryphal and later-debunked story the one of the songs the British played was the on-the-nose "The World Turned Upside Down.

I heard the phrases and I wanted all of me to call out in a song, a song that doesn't have words, a song that almost doesn't have noise. A lot of people take a short cut and call that feeling of song love. They just call it that because there isn't a way to describe it. But the word love doesn't describe the half of it. It doesn't do anything to bring to mind the song we all want so desperately to sing.

The reader reads aloud, with a sing-song up … then down … then down again cadence. My mood shifts from merely reluctant to derisive. It’s a tired reading style. I’m sick of it. It attaches more importance to the words than the words themselves—as they’ve been arranged—could possibly sustain, and it gives poets and poetry a bad name.

Hamlet' dwarfs 'Hamilton' - it dwarfs pretty much everything - but there's a revealing similarity between them. Shakespeare's longest play leaves its audience in the dark about some basic and seemingly crucial facts. It's not as if the Bard forgot, in the course of all those words, to tell us whether Hamlet was crazy or only pretending: He wanted us to wonder. He forces us to work on a puzzle that has no definite answer. And this mysteriousness is one reason why we find the play irresistible. 'Hamilton' is riddled with question marks. The first act begins with a question, and so does the second. The entire relationship between Hamilton and Burr is based on a mutual and explicit lack of comprehension: 'I will never understand you,' says Hamilton, and Burr wonders, 'What it is like in his shoes?' Again and again, Lin distinguishes characters by what they wish they knew. 'What'd I miss?' asks Jefferson in the song that introduces him. 'Would that be enough?' asks Eliza in the song that defines her. 'Why do you write like you're running out of time?' asks everybody in a song that marvels at Hamilton's drive, and all but declares that there's no way to explain it. 'Hamilton', like 'Hamlet', gives an audience the chance to watch a bunch of conspicuously intelligent and well-spoken characters fill the stage with 'words, words, words,' only to discover, again and again, the limits to what they can comprehend.

But when we get these partnerships, all these “best friends” we married don’t text us back like our female best friends do. They can’t wipe a counter to save their lives. Don’t know how to vacuum. And their learned helplessness becomes the punch line to all our jokes. Memes lampoon this male inability to function. A TikTok video shows the face of an exasperated wife on the phone with her husband, who is presumably wandering the grocery store looking for ketchup, and she’s lip-syncing to the song from Hamilton, “Look at where you are. Look at where you started. The fact that you’re alive right now is a miracle.” Hilarious. These are the good men.

You went on and on about how excited you were to move away. You couldn’t wait to get out of Hamilton and get away from me. I got the message. Loud and clear. It might’ve been the first time in our lives that one of us actually took a hint, ha. I went to Stanford, ready for a fresh start, but instead I spent my entire freshman year thinking about transferring to Duke. I didn’t join any clubs or make those lifelong friends that end up being your groomsmen. I hung out in my dorm room and listened to those CDs you used to make for Madeleine. (I stole most of her collection before I moved.) There was something comforting about listening to the songs you’d handpicked, even if they weren’t for me.

If the Greeks had left no tragedies behind for us, the highest reach of their power would be unknown. The three poets who were able to sound the depths of human agony were able also to recognize and reveal it as tragedy. The mystery of evil, they said, curtains that of which “every man whose soul is not a clod hath visions.” Pain could exalt and in tragedy for a moment men could have sight of a meaning beyond their grasp. “Yet had God not turned us in his hand and cast to earth our greatness,” Euripides makes the old Trojan queen say in her extremity, “we would have passed away giving nothing to men. They would have found no theme for song in us nor made great poems from our sorrows.” Why is the death of the ordinary man

He licked his lips, still looking earnest. “Sara. We had such a special connection. It was real and it was fantastic. Maybe that’s why I’ve spent so many years yearning for it too. We both knew what it was like, and we lost it. Even though you may not remember yet, it’s somewhere in here.” He reached over and touched my head. “And in there.” He pointed a finger toward my heart. I was speechless. I stared at Jack, knowing in my heart that he was being honest and truthful. And I was overwhelmed that he understood me so well. Turning to face me, his eyes burned with intensity. He took my hands in his and said, “I love you Sara Jordan Hamilton, and I’m willing to give you all the desires of your heart, if only you’ll let me. Nothing can take away my love for you. Not time, not distance, not even another husband.

The Greeks were the first people in the world to play, and they played on a great scale. All over Greece there were games, all sorts of games; athletic contests of every description: races—horse-, boat-, foot-, torch-races; contests in music, where one side out-sung the other; in dancing—on greased skins sometimes to display a nice skill of foot and balance of body; games where men leaped in and out of flying chariots; games so many one grows weary with the list of them. They are embodied in the statues familiar to all, the disc thrower, the charioteer, the wrestling boys, the dancing flute players. The great games—there were four that came at stated seasons—were so important, when one was held, a truce of God was proclaimed so that all Greece might come in safety without fear. There “glorious-limbed youth”—the phrase is Pindar’s, the athlete’s poet—strove for an honor so coveted as hardly anything else in Greece. An Olympic victor—triumphing generals would give place to him. His crown of wild olives was set beside the prize of the tragedian. Splendor attended him, processions, sacrifices, banquets, songs the greatest poets were glad to write. Thucydides, the brief, the severe, the historian of that bitter time, the fall of Athens, pauses, when one of his personages has conquered in the games, to give the fact full place of honor. If we had no other knowledge of what the Greeks were like, if nothing were left of Greek art and literature, the fact that they were in love with play and played magnificently would be proof enough of how they lived and how they looked at life. Wretched people, toiling people, do not play. Nothing like the Greek games is conceivable in Egypt or Mesopotamia. The life of the Egyptian lies spread out in the mural paintings down to the minutest detail. If fun and sport had played any real part they would be there in some form for us to see. But the Egyptian did not play. “Solon, Solon, you Greeks are all children,” said the Egyptian priest to the great Athenian.

Every act of making matters. How we make matters. I like to remember, and remark with regularity, that the word “making” occupies seventeen pages in the Oxford English Dictionary, so there are multiple possibilities for a lifetime of making: make a cup, a conversation, a building, an institution, make memory, make peace, make a poem, a song, a drawing, a play; make a metaphor that changes, enlarges, or inverts the way we understand or see something. Make something to change your mind — acts that amplify.

Cast aside your numbers and your coarse voice and learn how to sing, sweet Ozzie. Song is the destiny of all who live who love to live.

Their chanting and singing had been persistent and inventive. He’d never known there were so many songs about freedom, and what had happened to Slvasta’s balls.

You've the heart of a chanter who loves one song at sunup and another at sundown. Don't you see that both are part of the same day?

That guy who wrote the Hamilton musical will make a new song to raise money.” I force a laugh that lasts too long.

On top of everything else, the locals’ idea of nightlife in the Last Pony was folk songs sung along to an out-of-tune piano, drinking enough ale to knock out a horse, and lighting their own farts. Two centuries ago he would have enjoyed that, joining in heartily as the games became more childish; but as he’d slowly discovered, despite rejuvenation, age was a truly cumulative thing, bringing a degree of wisdom to life.

A pig-headed, cloth-eared, close-minded, tit-ogling, stink-breathing, stat-chasing disgrace to the force.’ Sturgess smiled. ‘That is way too specific for you to have come up with just now.’ ‘Unofficially, myself and a couple of the other female detectives might’ve had a little competition. Mandy won as she set hers to the tune of one of the songs from Hamilton.

Well, I was in the middle of all the madness last year, and I mean really… in the middle of it. And I was listening to Hamilton and I heard a song and I realized that, well, not everyone is ambitious enough to be the one making the thing happen, but everyone, I think, to some extent wants to be in the room where it happens. They might not want to write their favorite book, or paint their favorite painting, or vote the bill into law, but everyone wants to be in the room. We want to witness it. We want to feel like we are part of these things that, like, really matter.

In May 2019 the head of the ILD, Song Tao, met with Manfred Grund, a delegate of the German Bundestag and member of its Committee on Foreign Affairs. According to the ILD, Grund offered assurances that his party, the Christian Democratic Union, ‘actively supports the Belt and Road Initiative’ and ‘stands ready to strengthen exchanges and mutual learning with the CPC’.11 When later asked to comment, Grund said that he did not recall saying this, but that he did see common interests for Europe and China in Central Asia.

SONG OF ONE OF THE GIRLS Here in my heart I am Helen; I’m Aspasia and Hero, at least. I’m Judith, and Jael, and Madame de Staël; I’m Salomé, moon of the East. Here in my soul I am Sappho; Lady Hamilton am I, as well. In me Récamier vies with Kitty O’Shea, With Dido, and Eve, and poor Nell. I’m of the glamorous ladies At whose beckoning history shook. But you are a man, and see only my pan, So I stay at home with a book.