William Shakespeare’s Sonnet 130 stands out as one of his most famous and subversive works. In this sonnet, the poet offers a departure from the conventional love poetry of his time, which typically idealized the beloved. Rather than following the common tropes of comparing the lover’s beauty to divine or natural elements, Shakespeare critiques these clichéd metaphors, presenting a more grounded, human portrayal of love. This essay explores the structure, tone, and the analysis of the sonnet’s individual quatrains.
Shakespeare’s Sonnet 130
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.
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
The Structure and Tone of Sonnet 130
The poem is a Shakespearean sonnet, adhering to the traditional structure of 14 lines, composed in iambic pentameter. The rhyme scheme is ABAB CDCD EFEF GG, with three quatrains and a final rhymed couplet. This formal structure is typical of Shakespeare’s sonnets, allowing him to craft a sophisticated argument that is developed through the progression of the poem.
The tone of the poem is playful, ironic, and somewhat defiant. Shakespeare adopts a mocking tone as he subverts the traditional love sonnet conventions. Instead of describing his mistress as an idealized, ethereal beauty, he focuses on her imperfections and contrasts these qualities with exaggerated comparisons drawn from the natural world. The result is a tone that is both humorous and sincere, ultimately leading to a declaration of love that transcends the superficial.
Analysis of Sonnet 130
Lines 1–4
A Direct Challenge to Traditional Beauty Comparisons
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.
In the opening quatrain, Shakespeare immediately challenges the conventional metaphors of beauty found in many love poems of the time. Instead of comparing his mistress to the sun, her eyes are “nothing like the sun.” The traditional metaphor of eyes being compared to the brightness of the sun is rejected, and Shakespeare humorously establishes that his mistress does not fit into the perfect mold. The reference to coral being redder than her lips and the stark contrast to the white purity of snow further emphasizes her ordinariness.
The phrase “her breasts are dun,” using the word “dun” (a dull brownish color), contrasts with the traditional ideal of fair skin. Furthermore, the simile “If hairs be wires, black wires grow on her head” humorously subverts the expectation of golden, shining locks often described in other sonnets. In this first quatrain, Shakespeare lays the foundation for his critique of the hyperbole of beauty and makes a point that his mistress is not made of the same glowing elements used in other poems.
Lines 5–8
More Defiance Against Conventional Beauty Standards
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.
Here, Shakespeare continues his subversion of traditional imagery by comparing his mistress to roses. While poets frequently describe the cheeks of their lovers as rose-like in hue, Shakespeare states that no such “roses” appear in his mistress’s cheeks. The image of roses, typically associated with delicate, flawless beauty, is replaced with a more real, human portrayal of his lover’s appearance.
The poet also critiques the sensory idealization of scent. In contrast to the sweet-smelling perfumes that characterize idealized love poems, he notes that the breath of his mistress is far from delightful. The word “reeks” humorously suggests that she does not possess the divine fragrance often attributed to women in other poems, which serves to underscore the poem’s rejection of inflated comparisons.
Lines 9–12
The Critique of Voice and Movement
I love to hear her speak, yet well I know
That music hath a far more pleasing sound.
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
In this quatrain, Shakespeare addresses the themes of voice and movement. While he expresses affection for his mistress’s voice, he admits that it is not as pleasing as music, which is often idealized in poetry. Rather than elevating her speech to the level of divine harmony, he recognizes that it is grounded in human imperfection. Similarly, the typical image of a goddess gliding gracefully is subverted with the more relatable image of his mistress walking “on the ground.” She is not ethereal or supernatural but, rather, a flesh-and-blood woman with human qualities. Shakespeare thus removes the mysticism that is often applied to lovers in poetry, grounding his love in realism.
Lines 13–14
The Conclusion—Love Beyond Superficial Beauty
And yet, by heaven, I think my love as rare
As any she belied with false compare.
In the final couplet, Shakespeare brings the poem full circle. Despite all of the comparisons he has made between his mistress and natural elements that fall short, he declares that his love for her is “as rare” as any love described by false comparisons. By affirming that his love is unique, he elevates the bond he shares with her beyond superficial appearances. The declaration of love in the final lines reveals the underlying sincerity and depth of the speaker’s affection, which transcends conventional poetic idealizations of beauty.
Conclusion
Shakespeare’s Sonnet 130 is a masterful critique of the artificiality and exaggeration found in traditional love poetry. By rejecting the typical comparisons to nature, divine beings, and idealized beauty, the poet presents a more grounded and human depiction of his mistress. The poem suggests that true love does not rely on physical perfection or romanticized portrayals but is rooted in acceptance and authenticity. Ultimately, Shakespeare subverts the norms of his time, presenting a rare and sincere form of love that is both powerful and real.
