Shakespeare’s Sonnet 127 stands as a striking commentary on beauty, aging, and societal standards, particularly focusing on the changing perceptions of physical appearance. The poem is notable not only for its lyrical quality but also for its complex engagement with ideas of artifice, truth, and authenticity. Through a sophisticated blend of form and substance, the sonnet explores how beauty—especially in women—has evolved and how this transformation affects both self-perception and social perception.
Shakespeare’s Sonnet 127
In the old age, black was not counted fair,
Or, if it were, it bore not beauty’s name;
But now is black beauty’s successive heir,
And beauty slandered with a bastard shame.
For since each hand hath put on nature’s power,
Fairing the foul with art’s false borrowed face,
Sweet beauty hath no name, no holy bower,
But is profaned, if not lives in disgrace.
Therefore my mistress’ eyes are raven black,
Her eyes so suited, and they mourners seem
At such who, not born fair, no beauty lack,
Sland’ring creation with a false esteem.
Yet so they mourn, becoming of their woe,
That every tongue says beauty should look so.
The Structure and Tone of Sonnet 127
Shakespeare’s Sonnet 127 follows the structure typical of his sonnet cycle: a 14-line English sonnet composed of three quatrains (four-line stanzas) and a final rhymed couplet. The rhyme scheme is ABAB CDCD EFEF GG, which is characteristic of the Shakespearean sonnet form. The poem also follows iambic pentameter, lending it a rhythmic regularity that contrasts with the more chaotic themes of transformation and contradiction explored within.
The tone of the poem is melancholy, reflective, and somewhat critical. There is a distinct shift in focus from a description of conventional beauty to a lament about its artificial construction. Shakespeare appears to be both critiquing society’s evolving standards of beauty while simultaneously expressing a deep admiration for the subject of his sonnet—his mistress—whose unconventional beauty is celebrated as genuine and true, despite not conforming to the current ideal. This creates a tension between the ideals of society and the poet’s personal perspective, producing a sense of both defiance and acceptance.
Analysis of Sonnet 127
Lines 1–4
“In the old age, black was not counted fair,
Or, if it were, it bore not beauty’s name;
But now is black beauty’s successive heir,
And beauty slandered with a bastard shame.”
In the opening quatrain, Shakespeare introduces the theme of changing beauty standards. The phrase “black was not counted fair” refers to the traditional Western ideal of beauty, where fair skin (often associated with youth, purity, and desirability) was praised, while darker features—specifically dark skin or hair—were dismissed or even stigmatized. Shakespeare acknowledges this historical bias, yet with a tone of irony, as he asserts that “black” has now become “beauty’s successive heir,” suggesting that contemporary beauty standards have shifted to embrace traits previously marginalized.
However, Shakespeare immediately critiques this shift, noting that this change is not necessarily for the better. The phrase “beauty slandered with a bastard shame” implies that the current conception of beauty, though inclusive of darker features, is somehow flawed or corrupted. The term “bastard shame” speaks to a hybrid or illegitimate form of beauty—one that is not pure or genuine, but instead tainted by artifice, misrepresentation, or superficial enhancements. This sets up the poem’s central exploration of how beauty has been “artificially” altered or created by human hands.
Lines 5–8
“For since each hand hath put on nature’s power,
Fairing the foul with art’s false borrowed face,
Sweet beauty hath no name, no holy bower,
But is profaned, if not lives in disgrace.”
The second quatrain intensifies the critique of artificial beauty. The phrase “each hand hath put on nature’s power” suggests that people (presumably women, in this context) have used artifice to “fair the foul,” or to improve on what nature has given them, through makeup, surgery, or other cosmetic practices. Here, Shakespeare references the growing trend of embellishing or “improving” one’s natural features, which, in his view, results in a “false borrowed face.” The use of “borrowed” implies that these enhancements are not true to one’s original, natural form, but are instead appropriations of beauty, often lacking authenticity.
The poet laments that “sweet beauty hath no name, no holy bower,” implying that genuine beauty—unadorned, natural beauty—has lost its meaning. The term “holy bower” evokes an image of beauty as something sacred and untouchable, yet this purity is lost in an age where beauty has become “profane” or corrupted. If beauty no longer adheres to a set standard or remains genuine, it is “profane,” meaning it has been vulgarized, losing its sanctity and becoming a commodity or superficial ideal.
Lines 9–12
“Therefore my mistress’ eyes are raven black,
Her eyes so suited, and they mourners seem
At such who, not born fair, no beauty lack,
Sland’ring creation with a false esteem.”
In this quatrain, Shakespeare shifts the focus to his mistress, whose eyes are “raven black.” This dark feature contrasts with the traditional ideals of beauty, reinforcing the poem’s theme of changing perceptions of attractiveness. The poet’s admiration for his mistress is evident here, as he praises her natural beauty rather than adhering to the norms of the time. The description of her eyes as “mourners” is particularly poignant, suggesting that her beauty, though not conforming to conventional standards, holds a kind of sorrow or depth. It might imply that she suffers under the weight of societal rejection or the false ideals of beauty that are currently in vogue.
Shakespeare argues that those who “not born fair, no beauty lack,” meaning people whose natural features don’t meet the traditional standards of beauty, still possess intrinsic beauty. He condemns society for “sland’ring creation with a false esteem,” implying that the artificial standards of beauty imposed by society are fraudulent and a distortion of natural creation. In other words, people who artificially alter their appearance are deceiving themselves and others, as they falsely elevate themselves to an ideal that does not reflect true beauty.
Lines 13–14
“Yet so they mourn, becoming of their woe,
That every tongue says beauty should look so.”
In the final couplet, Shakespeare offers a kind of resolution, suggesting that despite the artificiality and sorrow attached to contemporary beauty standards, the process of mourning or suffering under these ideals has created a new vision of beauty. The phrase “becoming of their woe” suggests that the mourning, perhaps for lost authenticity or natural beauty, has somehow become integral to the new ideal of beauty. This emotional depth is not merely a flaw but is viewed as “becoming” or suitable for the new, accepted standards.
Shakespeare concludes by stating that “every tongue says beauty should look so,” indicating that society has, in fact, accepted this new definition of beauty, with all its contradictions and imperfections. The tension between what is natural and what is artificially constructed has led to a situation where what was once considered a flaw (darkness, imperfection) is now recognized as beautiful. This final line, though seemingly a resolution, also serves as an ironic commentary on the malleability of beauty standards—what is accepted today may be discarded tomorrow, and what is considered beautiful can quickly shift based on cultural trends.
Conclusion
Shakespeare’s Sonnet 127 is a profound meditation on beauty and the transient nature of societal ideals. Through skillful use of metaphor, irony, and vivid imagery, the poem challenges contemporary notions of beauty while simultaneously celebrating the uniqueness of his mistress. The sonnet critiques the artificial constructs that society creates around beauty, and yet, it acknowledges that these constructs inevitably shape our understanding of attractiveness. The contrast between natural and artificial beauty, along with the poet’s admiration for his mistress’ “raven black” eyes, encapsulates a timeless tension between authenticity and societal expectation. Ultimately, Sonnet 127 reflects Shakespeare’s sophisticated understanding of beauty as both a social construct and a deeply personal experience.
