My mistress’ eyes space nothing prefer thesun; Coral is far more red 보다 her lips’ red; If eye be white, why then her breasts room dun; If hair be wires, black wires thrive on her head. I have actually seen roses damask’d, red and white, yet no such roses view I in she cheeks; and also in some perfumes is there an ext delight than in the breath that from my mistress reeks. Ns love to hear her speak, yet well I understand That music hath a far an ext pleasing sound; I give I never saw a goddess go; mine mistress, when she walks, treads top top the ground: and yet, by heaven, ns think mylove together rare As any type of she belied v false compare.

Summary: Sonnet 130

This sonnet compares the speaker’s lover come a number ofother beauties—and never ever in the lover’s favor. She eyes room “nothinglike the sun,” her lips are less red than coral; contrasted to whitesnow, she breasts space dun-colored, and also her hair are choose blackwires on her head. In the second quatrain, the speaker claims he hasseen roses be separate by shade (“damasked”) into red and white, buthe watch no together roses in his mistress’s cheeks; and he states thebreath the “reeks” native his mistress is much less delightful than perfume.In the third quatrain, the admits that, despite he loves she voice,music “hath a far more pleasing sound,” and that, despite he hasnever watched a goddess, his mistress—unlike goddesses—walks on theground. In the couplet, however, the speak declares that, “byheav’n,” he thinks his love together rare and valuable “As any type of she beliedwith false compare”—that is, any love in i m sorry false comparisonswere invoked to explain the loved one’s beauty.

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Commentary

This sonnet, one of Shakespeare’s many famous, dram anelaborate joke on the conventions the love poetry common to Shakespeare’sday, and it is therefore well-conceived that the joke remains funny today.Most sonnet assignment in Elizabethan England to be modeled afterthat the Petrarch. Petrarch’s famous sonnet sequence was writtenas a series of love poems come an idealized and also idolized mistressnamed Laura. In the sonnets, Petrarch praises she beauty, her worth,and she perfection utilizing an extraordinary range of metaphors based largelyon organic beauties. In Shakespeare’s day, these metaphors had alreadybecome cliche (as, indeed, lock still are today), however they werestill the accepted an approach for creating love poetry. The resultwas the poems often tended to make extremely idealizing compare betweennature and the poets’ lover the were, if taken literally, completelyridiculous. My mistress’ eye are choose the sun; her lips are redas coral; she cheeks are favor roses, she breasts are white together snow,her voice is prefer music, she is a goddess.

In numerous ways, Shakespeare’ssonnets subvert and also reverse the conventions that the Petrarchan lovesequence: the idealizing love poems, for instance, are written notto a perfect woman however to an admittedly imperfect man, and the love poemsto the dark lady room anything but idealizing (“My love is together a fever,longing tho / For the which longer nurseth the disease” is hardlya Petrarchan conceit.) Sonnet 130 mocksthe usual Petrarchan metaphors by presenting a speaker who seemsto take them at challenge value, and somewhat bemusedly, decides to tellthe truth. Her mistress’ eye are prefer the sun? That’s strange—mymistress’ eye aren’t at all favor the sun. Her mistress’ breathsmells prefer perfume? mine mistress’ breath reeks compared to perfume.In the couplet, then, the speaker shows his complete intent, i m sorry isto insist that love walk not require these conceits in order come bereal; and women carry out not should look like flowers or the sunlight in orderto be beautiful.

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The rhetorical structure of Sonnet 130 isimportant come its effect. In the very first quatrain, the speaker spends oneline on every comparison in between his mistress and something else(the sun, coral, snow, and wires—the one optimistic thing in the wholepoem some part of his mistress is like. In thesecond and third quatrains, he expands the explanation to occupytwo lines each, so that roses/cheeks, perfume/breath, music/voice,and goddess/mistress each receive a pair of unrhymed lines. Thiscreates the result of one expanding and also developing argument, andneatly stays clear of the poem—which does, ~ all, depend on a singlekind of hoax for its very first twelve lines—from ending up being stagnant.


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