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Archy [21]
3 years ago
15

How does Alexander Hamilton's letter to John Jay (March 14, 1779) both confirm and complicate our understanding of Alexander Ham

ilton as he is portrayed in the musical?
Please add evidence from the musical and letter
English
1 answer:
Lubov Fominskaja [6]3 years ago
7 0

Answer:

On March 14, 1779, Alexander Hamilton wrote this letter to John Jay regarding the recruitment

of black soldiers. Hamilton expressed his opinion that former slaves might prove even better

soldiers than the whites. Unlike many of his contemporaries, he rejected prejudices about the

natural abilities of African-Americans and attributed any of their deficiencies to their social

condition as slaves. As you read the letter, consider why Hamilton advocated giving the slaves

"their freedom with their muskets" and what effect he thought this would have on slaves

throughout the South. How did he propose to overcome the objections of slaveowners? Why was

his plan rejected by congress?

Col Laurens, who will have the honor of delivering you this letter, is on his way to South

Carolina, on a project, which I think, in the present situation of affairs there, is a very good one

and deserves every kind of support and encouragement. This is to raise two three or four

batalions of negroes; with the assistance of the government of that state, by contributions from

the owners in proportion to the number they possess. If you should think proper to enter upon the

subject with him, he will give you a detail of his plan. He wishes to have it recommended by

Congress to the state; and, as an inducement, that they would engage to take those batalions into

Continental pay.

It appears to me, that an expedient of this kind, in the present state of Southern affairs, is the

most rational, that can be adopted, and promises very important advantages. Indeed, I hardly see

how a sufficient force can be collected in that quarter without it; and the enemy's operations there

are growing infinitely serious and formidable. I have not the least doubt, that the negroes will

make very excellent soldiers, with proper management; and I will venture to pronounce, that they

cannot be put in better hands than those of Mr. Laurens. He has all the zeal, intelligence,

enterprise, and every other qualification requisite to succeed in such an undertaking. It is a

maxim with some great military judges, that with sensible officers soldiers can hardly be too

stupid; and on this principle it is thought that the Russians would make the best troops in the

world, if they were under other officers than their own. The King of Prussia is among the number

who maintain this doctrine and has a very emphatical saying on the occasion, which I do not

exactly recollect. I mention this, because I frequently hear it objected to the scheme of

embodying negroes that they are too stupid to make soldiers. This is so far from appearing to me

a valid objection that I think their want of cultivation (for their natural faculties are probably as

good as ours) joined to that habit of subordination which they acquire from a life of servitude,

will make them sooner bec[o]me soldiers than our White inhabitants. Let officers be men of

sense and sentiment, and the nearer the soldiers approach to machines perhaps the better.

I foresee that this project will have to combat much opposition from prejudice and self-interest.

The contempt we have been taught to entertain for the blacks, makes us fancy many things that

are founded neither in reason nor experience; and an unwillingness to part with property of so

valuable a kind will furnish a thousand arguments to show the impracticability or pernicious  

tendency of a scheme which requires such a sacrifice. But it should be considered, that if we do

not make use of them in this way, the enemy probably will; and that the best way to counteract

the temptations they will hold out will be to offer them ourselves. An essential part of the plan is

to give them their freedom with their muskets. This will secure their fidelity, animate their

courage, and I believe will have a good influence upon those who remain, by opening a door to

their emancipation. This circumstance, I confess, has no small weight in inducing me to wish the

success of the project; for the dictates of humanity and true policy equally interest me in favour

of this unfortunate class of men

Explanation:

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Should freedom of religion be a thing
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Answer:

I don't think so

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Ilya [14]

Answer:

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The film’s first establishing shots set the action in a busy modern office. A woman sits at a computer, absorbed in her screen. The camera looks at her through a glass wall, one of many in the shot. The reflections of passersby reflected in the glass and the workspace’s dim blue light make it difficult to determine how many rooms are depicted. The camera cuts to a few different young men typing on their phones, their bodies partially concealed both by people walking between them and the camera and by the stylized modern furniture that surrounds them. The fourth shot peeks over a computer monitor at a blonde man working with headphones in. A slight zoom toward his face suggests that this is an important character, and the cut to a point-of-view shot looking at his computer screen confirms this. We later learn that this is Caleb Smith (Domhnall Gleeson), a young programmer whose perspective the film follows.

The rest of the sequence cuts between shots from Caleb’s P.O.V. and reaction shots of his face, as he receives and processes the news that he has won first prize in a staff competition. Shocked, Caleb dives for his cellphone and texts several people the news. Several people immediately respond with congratulatory messages, and after a moment the woman from the opening shot runs in to give him a hug. At this point, the other people in the room look up, smile, and start clapping, while Caleb smiles disbelievingly—perhaps even anxiously—and the camera subtly zooms in a bit closer. Throughout the entire sequence, there is no sound other than ambient electronic music that gets slightly louder and more textured as the sequence progresses. A jump cut to an aerial view of a glacial landscape ends the sequence and indicates that Caleb is very quickly transported into a very unfamiliar setting, implying that he will have difficulty adjusting to this sudden change in circumstances.

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