Shakespeare: Sonnet 130

Context
Petrarchan Sonnets (Italian Sonnets) are older
than Shakespearian Sonnets.

During the Renaissance (1450 – 1650) sonnets

typically glorified how women looked and were
brimming with hyperboles (exaggerations) such
as “thy lips are like a thread of scarlet”
(Reference: Song of Solomon - King James Bible).

A common term for these sonnets in which the

speaker catalogues each part of a woman’s body,
comparing these aspects to the natural world are
blazon sonnets.
Why did
Shakespeare write
this poem?
• This sonnet also a satire as it is a criticism of the way society view beauty
standards – which Shakespeare dismisses in the rhyming couplet. This is
done through the humour the hyperboles and inverted comparison make.
• It parodies (makes fun of) the famous and often over-the-top Petrarchan
sonnets in which poets described their partners in highly exaggerated and
unrealistic ways.
• Although this poem contains similar themes as found in traditional
sonnets (female beauty, love and admiration), Shakespeare does not
idealise his beloved. He describes her in ways which are realistic and,
therefore, more accurate and ‘real’.
 Sonnet 130 makes fun of hyperbolic language
to give a more realistic depiction of a woman.
As we go through the poem we are made to
Meaning: feel as if the mistress isn’t very attractive.
However, the poem finishes on a romantic note
because the woman is unique and it’s not fair
for her looks to be misrepresented and lied to
through false comparisons. Overall the speaker
does love her, but doesn’t need to exaggerate
to express his love.
A theme of honesty is present in this poem
which could demonstrate how genuine his
love is.
Shakespeare: Sonnet 130 (Imagined Worlds p.11-13)
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are
dun;
If hairs be wires, black wires grow on her
head.
I have seen roses damasked, red and white,

But no such roses see I in her cheeks;

And in some perfumes is there more delight
Than in the breath that from my mistress
reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
 First person Noun - a Modern English
He's just called her his
possessive pronoun Meaning (1500-1700) for a
mistress yet now he uses a
- shows us that the woman that a man loves.
negative simile "nothing like"
woman belongs to We know the speaker loves
to say she doesn't have sun-
the speaker this woman from this title.
like eyes (Simile)

My mistress eyes are nothing like the sun,

Alliteration

Coral is far more red than her lips' red, Metaphor

The actual red "far more" Repetition of the

coral is literally intensifying the word red because it
more red than fact that her lips is the colour
her lips are definitely not a associated with
deep red colour love
 Greyish brown (dull)

Metaphor: The woman

If snow be white, why then her breasts are dun, doesn't have white
skin or golden hair
which were both
If hairs be wires, black wires grow on her head. things that were
beautiful features for
Alliteration
women

Metaphor: the word wires refers to golden wire, as

women who had beautiful hair were told they had
hair like golden wire.

Alliteration (‘w’) emphasizes how imperfect she is.

 This is the speaker's Is a blended pattern – creating a
account and it reaffirms beautiful pink. So he has seen
this is his opinion blended red and white roses, but not
a blend of white skin and red cheeks

I have seen roses damasked, red and white, Metaphor

But no such roses see I in her cheeks,

Alliteration
Inversion / anastrophe
 the natural order of words are
This word
inversed
prepares us for the
negative that is
This places emphasis on “roses”
about to follow.  mocks the Petrarchan ideal.
 This word Repetition of the
indicates that we possessive pronoun
are to anticipate “my” from previous
more lines emphasises the
comparisons speaker’s ownership of
the woman

And in some perfumes is there more delight

Than in the breath that from my mistress reeks.

To breathe/exhale
 “love” (abstract noun) shows a
redeemable feature in that he
loves to speak with her

Turning point: we prepare

for some negativity

I love to hear her speak, yet well I know

Alliteration

That music have a far more pleasing sound.

Adjective suggests that music

is more relaxing and
enjoyable than listening to
her voice
 Reference to how women
Declarative phrase (he admits were supposed to walk like an
the following) so we are set up angel / elegant movement
to believe what is about to
follow Introduces the final
point (that she does not
have to be a goddess to
be loved)
I grant I never saw a goddess go:
Alliteration

My mistress, when she walks, treads on the ground.

Shows she walks normally (even quite

heavily) like any other human on the
ground and not in the air.
 Declaring a vow so VOLTA – THE
we know he is TWIST IN THE
Introduces the twist being serious RHYMING
about what he is Possessive The love he COUPLET
(VOLTA) in the phrase
sonnet. about to say has is precious
again

Paraphrase:
I think that my love is
And yet, by heaven, I think my love as rare unique compared to
others, but she has
been lied to by false
As any she belied with false compare. comparisons in blazon
sonnets.
Falsely portrayed with comparisons that are untrue

Shakespeare is making the point that conventional love poems (Petrarchan sonnets) are
unrealistic.
Real love does not need false comparisons. Any woman can be beautiful.
Shakespeare embraces her flaws. He loves her just the way she is.
Thus, by telling the reader exactly what his beloved is NOT, we see and hear how perfect she
is despite her imperfections
 Summary
• Shakespeare uses eight ‘anti-compliments’ (negative
comparisons) to describe the uniqueness and beauty
of his beloved.
• However, in the couplet he states that BECAUSE she is
normal and ‘real’, he does not need to exaggerate her
looks or his love for her. He loves her just the way she
is – perfect in her imperfection. In other words, she is
perfect to HIM – he does not need an idealised and
superficial woman.
• Although he seems critical and rather rude in the first
12 lines, the reader realises that he is, in fact, sincere
in his love for her. He does not need exaggerated and
unrealistic comparisons to declare his genuine love
for her. In being so brutally honest, he has ironically
given her a heightened beauty, simply because he
does not dote on her outward appearance.
 Structure

• This is a Shakespearean or Elizabethan sonnet.

• It consists of three quatrains (4 lines each) and a rhyming couplet (2 lines).
• The rhyme scheme is: abab cdcd efef gg.
• The rhyming couplet serves as a final argument to drive home the speaker’s
point.
• The rhythm of the point is consistent, too, and follows traditional iambic
pentameter. There are 10 pairs of unstressed and stressed syllables in each
line.
• A lot of hyperbole in the poem – all of the comparisons are exaggerated – to
emphasise the absurdity of Petrarchan ideals.
 Tone

• The tone of the poem is satirical in

the first 12 lines when he mocks
the Petrarchan ideals.
• He is sincere and almost
complimentary in the couplet
when he states that he loves the
mistress in spite of her
imperfections.
 Theme
• Escape from Idealism – Shakespeare does not idealise his beloved. She in unlike the
Petrarchan ideal – she is “real”, and he loves her despite her imperfections. He
states clearly in the couplet that people who describe their partners with idealised
comparisons, are liars. This emphasises the absurdity of Idealism.

• Femininity – This sonnet addresses the problem of stereotyping female beauty by

setting unreachable standards for it. The fixed ‘definition’ of beauty is unrealistic
and will make females inferior by not achieving the ideal standards of beauty. He
questions real love – we should love our partners in spite of their imperfections.

• Love – The speaker expresses his love for his beloved. He describes his values of
love. He states that real love is not based on outwards appearances and idealised
looks. His love is based on connection and emotion, not the superficial.