On the Way
NOTE.—The following imaginary dialogue between Alexander Hamilton and Aaron Burr, which is not based upon any specific incident in American history, may be supposed to have occurred a few months previous to Hamilton’s retirement from Washington’s Cabinet in 1795 and a few years before the political ingenuities of Burr—who has been characterized, without much exaggeration, as the inventor of American politics—began to be conspicuously formidable to the Federalists. These activities on the part of Burr resulted, as the reader will remember, in the Burr-Jefferson tie for the Presidency in 1800, and finally in the Burr-Hamilton duel at Weehawken in 1804.
BURR
Hamilton, if he rides you down, remember
That I was here to speak, and so to save
Your fabric from catastrophe. That’s good;
For I perceive that you observe him also.
A President, a-riding of his horse,
May dust a General and be forgiven;
But why be dusted—when we’re all alike,
All equal, and all happy? Here he comes—
And there he goes. And we, by your new patent,
Would seem to be two kings here by the wayside,
With our two hats off to his Excellency.
Why not his Majesty, and done with it?
Forgive me if I shook your meditation,
But you that weld our credit should have eyes
To see what’s coming. Bury me first if I do.
HAMILTON
There’s always in some pocket of your brain
A care for me; wherefore my gratitude
For your attention is commensurate
With your concern. Yes, Burr, we are two kings;
We are as royal as two ditch-diggers;
But owe me not your sceptre. These are the days
When first a few seem all; but if we live
We may again be seen to be the few
That we have always been. These are the days
When men forget the stars, and are forgotten.
BURR
But why forget them? They’re the same that winked
Upon the world when Alcibiades
Cut off his dog’s tail to induce distinction.
There are dogs yet, and Alcibiades
Is not forgotten.
HAMILTON
Yes, there are dogs enough,
God knows; and I can hear them in my dreams.
BURR
Never a doubt. But what you hear the most
Is your new music, something out of tune
With your intention. How in the name of Cain,
I seem to hear you ask, are men to dance,
When all men are musicians. Tell me that,
I hear you saying, and I’ll tell you the name
Of Samson’s mother. But why shroud yourself
Before the coffin comes? For all you know,
The tree that is to fall for your last house
Is now a sapling. You may have to wait
So long as to be sorry; though I doubt it,
For you are not at home in your new Eden
Where chilly whispers of a likely frost
Accumulate already in the air.
I think a touch of ermine, Hamilton,
Would be for you in your autumnal mood
A pleasant sort of warmth along the shoulders.
HAMILTON
If so it is you think, you may as well
Give over thinking. We are done with ermine.
What I fear most is not the multitude,
But those who are to loop it with a string
That has one end in France and one end here.
I’m not so fortified with observation
That I could swear that more than half a score
Among us who see lightning see that ruin
Is not the work of thunder. Since the world
Was ordered, there was never a long pause
For caution between doing and undoing.
BURR
Go on, sir; my attention is a trap
Set for the catching of all compliments
To Monticello, and all else abroad
That has a name or an identity.
HAMILTON
I leave to you the names—there are too many;
Yet one there is to sift and hold apart,
As now I see. There comes at last a glimmer
That is not always clouded, or too late.
But I was near and young, and had the reins
To play with while he manned a team so raw
That only God knows where the end had been
Of all that riding without Washington.
There was a nation in the man who passed us,
If there was not a world. I may have driven
Since then some restive horses, and alone,
And through a splashing of abundant mud;
But he who made the dust that sets you on
To coughing, made the road. Now it seems dry,
And in a measure safe.
BURR
Here’s a new tune
From Hamilton. Has your caution all at once,
And over night, grown till it wrecks the cradle?
I have forgotten what my father said
When I was born, but there’s a rustling of it
Among my memories, and it makes a noise
About as loud as all that I have held
And fondled heretofore of your same caution.
But that’s affairs, not feelings. If our friends
Guessed half we say of them, our enemies
Would itch in our friends’ jackets. Howsoever,
The world is of a sudden on its head,
And all are spilled—unless you cling alone
With Washington. Ask Adams about that.
HAMILTON
We’ll not ask Adams about anything.
We fish for lizards when we choose to ask
For what we know already is not coming,
And we must eat the answer. Where’s the use
Of asking when this man says everything,
With all his tongues of silence?
BURR
I dare say.
I dare say, but I won’t. One of those tongues
I’ll borrow for the nonce. He’ll never miss it.
We mean his Western Majesty, King George.
HAMILTON
I mean the man who rode by on his horse.
I’ll beg of you the meed of your indulgence
If I should say this planet may have done
A deal of weary whirling when at last,
If ever, Time shall aggregate again
A majesty like his that has no name.
BURR
Then you concede his Majesty? That’s good,
And what of yours? Here are two majesties.
Favor the Left a little, Hamilton,
Or you’ll be floundering in the ditch that waits
For riders who forget where they are riding.
If we and France, as you anticipate,
Must eat each other, what Cæsar, if not yourself,
Do you see for the master of the feast?
There may be a place waiting on your head
For laurel thick as Nero’s. You don’t know.
I have not crossed your glory, though I might
If I saw thrones at auction.
HAMILTON
Yes, you might.
If war is on the way, I shall be—here;
And I’ve no vision of your distant heels.
BURR
I see that I shall take an inference
To bed with me to-night to keep me warm.
I thank you, Hamilton, and I approve
Your fealty to the aggregated greatness
Of him you lean on while he leans on you.
HAMILTON
This easy phrasing is a game of yours
That you may win to lose. I beg your pardon,
But you that have the sight will not employ
The will to see with it. If you did so,
There might be fewer ditches dug for others
In your perspective; and there might be fewer
Contemporary motes of prejudice
Between you and the man who made the dust.
Call him a genius or a gentleman,
A prophet or a builder, or what not,
But hold your disposition off the balance,
And weigh him in the light. Once (I believe
I tell you nothing new to your surmise,
Or to the tongues of towns and villages)
I nourished with an adolescent fancy—
Surely forgivable to you, my friend—
An innocent and amiable conviction
That I was, by the grace of honest fortune,
A savior at his elbow through the war,
Where I might have observed, more than I did,
Patience and wholesome passion. I was there,
And for such honor I gave nothing worse
Than some advice at which he may have smiled.
I must have given a modicum besides,
Or the rough interval between those days
And these would never have made for me my friends,
Or enemies. I should be something somewhere—
I say not what—but I should not be here
If he had not been there. Possibly, too,
You might not—or that Quaker with his cane.
BURR
Possibly, too, I should. When the Almighty
Rides a white horse, I fancy we shall know it.
HAMILTON
It was a man, Burr, that was in my mind;
No god, or ghost, or demon—only a man:
A man whose occupation is the need
Of those who would not feel it if it bit them;
And one who shapes an age while he endures
The pin pricks of inferiorities;
A cautious man, because he is but one;
A lonely man, because he is a thousand.
No marvel you are slow to find in him
The genius that is one spark or is nothing:
His genius is a flame that he must hold
So far above the common heads of men
That they may view him only through the mist
Of their defect, and wonder what he is.
It seems to me the mystery that is in him
That makes him only more to me a man
Than any other I have ever known.
BURR
I grant you that his worship is a man.
I’m not so much at home with mysteries,
May be, as you—so leave him with his fire:
God knows that I shall never put it out.
He has not made a cripple of himself
In his pursuit of me, though I have heard
His condescension honors me with parts.
Parts make a whole, if we’ve enough of them;
And once I figured a sufficiency
To be at least an atom in the annals
Of your republic. But I must have erred.
HAMILTON
You smile as if your spirit lived at ease
With error. I should not have named it so,
Failing assent from you; nor, if I did,
Should I be so complacent in my skill
To comb the tangled language of the people
As to be sure of anything in these days.
Put that much in account with modesty.
BURR
What in the name of Ahab, Hamilton,
Have you, in the last region of your dreaming,
To do with “people”? You may be the devil
In your dead-reckoning of what reefs and shoals
Are waiting on the progress of our ship
Unless you steer it, but you’ll find it irksome
Alone there in the stern; and some warm day
There’ll be an inland music in the rigging,
And afterwards on deck. I’m not affined
Or favored overmuch at Monticello,
But there’s a mighty swarming of new bees
About the premises, and all have wings.
If you hear something buzzing before long,
Be thoughtful how you strike, remembering also
There was a fellow Naboth had a vineyard,
And Ahab cut his hair off and went softly.
HAMILTON
I don’t remember that he cut his hair off.
BURR
Somehow I rather fancy that he did.
If so, it’s in the Book; and if not so,
He did the rest, and did it handsomely.
HAMILTON
Commend yourself to Ahab and his ways
If they inveigle you to emulation;
But where, if I may ask it, are you tending
With your invidious wielding of the Scriptures?
You call to mind an eminent archangel
Who fell to make him famous. Would you fall
So far as he, to be so far remembered?
BURR
Before I fall or rise, or am an angel,
I shall acquaint myself a little further
With our new land’s new language, which is not—
Peace to your dreams—an idiom to your liking.
I’m wondering if a man may always know
How old a man may be at thirty-seven;
I wonder likewise if a prettier time
Could be decreed for a good man to vanish
Than about now for you, before you fade,
And even your friends are seeing that you have had
Your cup too full for longer mortal triumph.
Well, you have had enough, and had it young;
And the old wine is nearer to the lees
Than you are to the work that you are doing.
HAMILTON
When does this philological excursion
Into new lands and languages begin?
BURR
Anon—that is, already. Only Fortune
Gave me this afternoon the benefaction
Of your blue back, which I for love pursued,
And in pursuing may have saved your life—
Also the world a pounding piece of news:
Hamilton bites the dust of Washington,
Or rather of his horse. For you alone,
Or for your fame, I’d wish it might have been so.
HAMILTON
Not every man among us has a friend
So jealous for the other’s fame. How long
Are you to diagnose the doubtful case
Of Demos—and what for? Have you a sword
For some new Damocles? If it’s for me,
I have lost all official appetite,
And shall have faded, after January,
Into the law. I’m going to New York.
BURR
No matter where you are, one of these days
I shall come back to you and tell you something.
This Demos, I have heard, has in his wrist
A pulse that no two doctors have as yet
Counted and found the same, and in his mouth
A tongue that has the like alacrity
For saying or not for saying what most it is
That pullulates in his ignoble mind.
One of these days I shall appear again,
To tell you more of him and his opinions;
I shall not be so long out of your sight,
Or take myself so far, that I may not,
Like Alcibiades, come back again.
He went away to Phrygia, and fared ill.
HAMILTON
There’s an example in Themistocles:
He went away to Persia, and fared well.
BURR
So? Must I go so far? And if so, why so?
I had not planned it so. Is this the road
I take? If so, farewell.
HAMILTON
Quite so. Farewell.
Literary Analysis
This literary analysis was generated with AI and may contain interpretive differences. Provide your analysis in the comments section.
Summary
Set on a roadside in the early American republic, the poem stages an extended, witty conversation between Alexander Hamilton and Aaron Burr as they watch George Washington pass by. Burr speaks first, with his usual blend of irony, sly warning, and ambition, while Hamilton answers with guarded seriousness and flashes of admiration. The exchange moves from political gossip and national uncertainty to a larger argument about power, reputation, and the kind of greatness that can shape a new nation.
As the dialogue develops, the poem reveals two sharply different temperaments. Burr is calculating, agile, and verbally playful; Hamilton is more austere, reflective, and convinced that true leadership requires discipline and sacrifice. Yet the poem refuses to make either man simple. Burr's mockery often hides perception, while Hamilton's praise of Washington and concern for the republic expose both his loyalty and his anxiety. The central meaning emerges through their tension: history is not made only by ideals or only by opportunism, but by uneasy collisions between them, and even the greatest figures must move through a world where fame, judgment, and political power are unstable.
Theme
- Political rivalry - The poem turns a brief roadside meeting into a study of competing ambitions, showing how public life is shaped by suspicion, wit, and strategic self-presentation.
- Leadership and greatness - Hamilton's admiration for Washington frames greatness as disciplined, difficult, and rare, while Burr's remarks test whether greatness is something noble or merely socially recognized.
- Republican uncertainty - The poem captures an early national moment when the meaning of American politics is still unsettled, and the language of kings, presidents, and patriots feels newly invented.
- Reputation and historical memory - Both men speak as if they already understand that posterity will judge them, which gives the conversation a restless sense of self-conscious legacy.
- Irony and performance - Nearly every exchange is double-edged: compliments conceal threats, warnings sound like jokes, and political speech becomes a contest of masks.
- Admiration mixed with distrust - Hamilton's respect for Washington is sincere, but it is inseparable from fear of rivals and of the unstable forces gathering around the new nation.
Literary Devices
- Blank verse - The unrhymed iambic framework gives the dialogue a dignified, flexible movement that suits both political argument and dramatic characterization.
- Dramatic dialogue - By letting Hamilton and Burr speak directly, the poem creates a living contest of voices and allows character to emerge through verbal sparring rather than authorial explanation.
- Allusion - References to Washington, Alcibiades, Ahab, Damocles, Themistocles, and other figures widen the poem's historical and biblical reach, linking American politics to larger patterns of ambition and downfall.
- Irony - The poem repeatedly says one thing while implying another, especially when Burr's compliments sound like threats and Hamilton's praise also carries criticism.
- Metaphor - Political life is imagined as riding, steering, dust, music, and weather, turning abstract power struggles into vivid physical scenes.
- Extended characterization - Burr's wit and Hamilton's gravity are sustained across the whole poem, so their personalities develop through language, not just through plot.
- Imagery of motion - Riding, roads, dust, ditches, and horses reinforce the sense that history is in transit and that both men are trying to keep pace with it.
Symbolism
- Washington on horseback - He symbolizes legitimate authority, national founding, and the commanding presence that both men measure themselves against.
- The road - The road suggests the nation's political path, one that is still unsettled and full of hazards, turns, and possible falls.
- Dust - Dust represents the ordinary struggle of politics and the residue left behind by power; it also marks the distance between the great and the rest.
- Ermine - Burr's image of ermine suggests office, status, and the trappings of authority that Hamilton may soon outgrow or lose.
- The horse - The horse stands for speed, rank, and historical momentum, especially in relation to Washington's ability to lead by example.
- Waves of bees / buzzing - The buzzing around Monticello suggests gathering political energy, rumor, and the swelling force of Jeffersonian politics.
- The law - Hamilton's turn toward law symbolizes a retreat from national combat into a more controlled, if still influential, arena of public life.
Tone
The tone is sharply intelligent, alert, and often sardonic, with Robinson shaping the exchange so that every line feels like a duel of minds. Hamilton's voice carries gravity, restraint, and admiration, while Burr's carries irony, mischief, and calculated provocation. For the reader, the mood is tense but exhilarating: the poem feels like listening to history think aloud, with humor constantly shadowed by the knowledge that these verbal crosscurrents belong to men whose real-world conflict will end in tragedy.
Historical Context
The poem belongs to a long American tradition of revisiting the early republic through the rival figures of Hamilton, Burr, and Washington. Its setting draws on the political culture of the Federalist and Jeffersonian eras, when questions of centralized authority, popular democracy, and national identity were still being negotiated. Robinson uses those figures not as documentary subjects but as emblematic voices in a national argument about power, character, and public language.
Because the poem is explicitly framed as an imaginary conversation, it should be read less as historical reconstruction than as dramatized political memory. Its references to classical and biblical figures reflect a literary habit common in serious modern verse: using older cultural touchstones to measure American public life against broader patterns of ambition, rivalry, and decline.
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