The Parting

The Parting
Michael Drayton 1563 (Hartshill) – 1631 (London)
SINCE there 's no help, come let us kiss and part —

Nay, I have done, you get no more of me;
And I am glad, yea, glad with all my heart,
That thus so cleanly I myself can free.
Shake hands for ever, cancel all our vows,
And when we meet at any time again,
Be it not seen in either of our brows
That we one jot of former love retain.
Now at the last gasp of Love's latest breath,
When, his pulse failing, Passion speechless lies,
When Faith is kneeling by his bed of death,
And Innocence is closing up his eyes,
—Now if thou wouldst, when all have given him over,
From death to life thou might'st him yet recover.
The Parting
Michael Drayton, was an English poet, the first to write odes in English in the style of
Horace. The Parting by Michael Drayton is a sonnet. It is a poem about the breakup of
the relationship between the poet and his companion. This sonnet has a very strict
form and the poet has been cautious in composing his poetry, to assure that it fits the
design constraints. The sonnet is very short, it consists of only 14 lines. Oftentimes, he
has to synopsize in a single line of the poem, something he would ordinarily have
penned a. The line, “Shake hands forever, cancel all our vows” summarizes quite a
precise sense of the dispute signifying enduringly, with no chance of reconciliation.
There is a change from the aggression of the first half of the poem, there remains a
slight hint in the second half, as the author threatens his lover, telling her that if she
leaves him, then she will be a murderess, who has killed not only their endearment but
love itself. The language is harsh and cold, and after the Volta, in the third and fourth
quatrains, the language is softer and more personal. Again, this is a function of the
form of the sonnet; there must be a drastic change of ideas after line eight. For
example, there is the brutally aggressive “you get no more of me” in the second line,
and the much gentler “Now at the last gasp of love’s latest breath”. The poet uses the
Volta not just to change the language but also to the entire message. Instead of
pushing her apart from him as he did in the first eight lines, he is now emphasizing her
of how consequential the end of the relationship will be. He goes from demanding to
practically pleading. The orders in the first two quatrains such as “be it not seen” are
replaced with conditionals, such as “if thou would’ st”; it seems almost as though he is
pleading with her. Also, worth noting is how he goes from using the aggressive “you”
to the gentler “thou” after the Volta.
In a sonnet, the rhythm is always iambic pentameter, which means that there must
always be ten syllables per line, with each second syllable being stressed and the
author breaks this pattern. Besides, to the constraints of the number of lines, because
of which the poem is compressed, simplifying the poem’s purpose, and enhances it.
For example, in the first line, “SINCE there’s no help, come let us kiss and part— ”
there should be no stress on the third syllable, but the author has written the poem so
that there is, stressing the “no” and giving weight to the preciseness of the first two
quatrains. The author again breaks the rhythm in the last two lines that are ” —Now if
thou would’st, when all have given him over, From death to life thou might’st him yet
recover.” using eleven syllables instead of ten. This is not a blunder or an accident, it
has been done for one of two purposes; to add importance to these lines because it
appears out of place due to their length, or because the poet thought that he clearly
could not sum up his feelings in the eleven syllables that the conventional sonnet
allows him. When looking at the rhythm, we should look not only at the line length
but also at the rhyme scheme. In the first two quatrains, the rhyme words are very
harsh, distancing the author from the poem. For example, there are the very harsh
consonant sounds of “part” and “heart”, However, in the third quatrain, there are much
softer sounds, such as “breath”, “death”, “lies” and “eyes”. The harsh ‘r’s and ‘t’s are
replaced by softer ‘th’s and ‘s’s. This pattern is mirrored throughout the poem; in the
first two quatrains.
The structure of the sonnet has considerably added to the essence of the poem. In
perfecting the poem to suit the constraints, the poet has illuminated the message and
intensified the sense of what he is trying to say. Besides, where the poet for some
purpose breaks the rules of the poem which adds more meaning to the poem,
highlighting specific elements and making other parts exceptional.
“The Parting” by Michael Drayton

“The Parting” is a sonnet written by Michael Drayton, an English poet and playwright from
the Elizabethan era. The poem explores the theme of separation and the emotions associated
with bidding farewell to a loved one.
The sonnet opens with the speaker acknowledging the inevitability of parting. They express
their understanding that all good things must come to an end, and even the most passionate
love affairs are subject to the passage of time.
The speaker then delves into describing the pain and sorrow of parting. They emphasize the
difficulty of saying goodbye and express their desire for the farewell to be as brief and
painless as possible. The speaker longs for a quick separation to alleviate the anguish of the
impending departure.
As the sonnet progresses, the speaker reflects on the significance of the love they have shared
with their companion. They describe their love as unique and extraordinary, something that
cannot be replicated or replaced. The speaker cherishes the memories of their time together
and recognizes the profound impact their loved one has had on their life.
In the final lines of the sonnet, the speaker expresses their hope that the love they shared will
endure, even in the face of physical separation. They affirm that despite the pain of parting,
their love will remain steadfast and unwavering.
“The Parting” is a poignant and heartfelt exploration of the emotions associated with saying
goodbye. It reflects on the bittersweet nature of parting and the enduring power of love.
Drayton’s use of language and imagery captures the essence of longing, loss, and the
resilience of the human spirit in the face of separation.

The Parting

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The Parting

Michael Drayton 1563 (Hartshill) – 1631 (London)

SINCE there 's no help, come let us kiss and part —

“The Parting” by Michael Drayton

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