MAPACA

Mid-Atlantic Popular &
American Culture Association

In his influential text After Virtue: A Study in Moral Theory, philosopher Alasdair MacIntyre wrote that “man is in his actions and practice, as well as in his fictions, essentially a story-telling animal” (201). Essentially, storytelling is part of human nature, and it is present in every aspect of life, from conversation to written forms of communication. This analysis of humanity in relation to narrative sparked communication scholar Walter Fisher’s seminal work “Narration as a Human Communication Paradigm: The Case of Public Moral Argument,” in which he posited his narrative paradigm theory, which asserts that the most meaningful and memorable forms communication occurs through storytelling. Lin-Manuel Miranda’s Hamilton: An American Musical is a groundbreaking musical which revolutionized Broadway. Due to its history (albeit anachronistic) premise, its color-conscious casting, and its well-timed political commentary, the musical has prompted praise and controversy alike. The narrative of the story is inspiring, especially in light of recent political and social concerns surrounding race and immigration. The story of an “orphan immigrant” rising up to become a Founding Father, making a lasting name for himself, is a story that holds a special place in the heart of many, especially in America. However, due to the anachronistic nature of the musical, I contend that Miranda has created more of a myth than an actual depiction of the man himself. This is purposeful, not accidental. Miranda uses his inaccurate depiction of Hamilton to further a specific political and social commentary. By framing the story through the lens of a Founding Father, Miranda uses a favorite story of the American people in an attempt to shape the manner in which social discourse surrounding immigration and race occurs.