Sonnet 20 Analysis - Literary devices and Poetic devices

Sonnet 20: A Masterpiece of Unconventional Beauty

A woman’s face, with nature’s own hand painted,
Hast thou, the master-mistress of my love,
A woman’s gentle heart, but not acquainted,
With shifting change as is false woman’s fashion.
An eye more bright than theirs, less false in rolling,
Gilding the object whereupon it gazeth.
A man in hue, all hues in his controlling,
Which steals men’s eyes and women’s souls amazeth.
And for a woman was the thing which thou,
Till nature as she wrought thee fell a-doting,
And by addition me of thee defeated,
By adding one thing to my purpose nothing.
But since she pricked thee out for women’s pleasure,
Mine be thy love, and thy love’s use them treasure.

Unveiling Sonnet 20: A Summary and Central Idea

Sonnet 20 stands as a truly unique and captivating exploration of beauty, love, and gender identity within Shakespeare’s collection. This poem addresses a beloved individual whose striking appearance blends both traditionally feminine and masculine attributes. The speaker describes this person as having a “woman’s face” and a “gentle heart,” yet also possessing a commanding presence that earns the title “master-mistress of my love.” The central idea of Sonnet 20 revolves around the celebration of an extraordinary, androgynous beauty that transcends conventional gender boundaries, captivating all who behold it. However, it also navigates the speaker’s complex feelings, acknowledging an admiration that is profound but ultimately non-sexual due to a specific physical attribute. This sonnet challenges societal norms of attraction and offers a nuanced perspective on the nature of love and desire.

Noteworthy Knowledge for All Readers

For many, Sonnet 20 is notable for its direct address to a young man, a common subject in Shakespeare’s early sonnets, despite the initial descriptions of feminine beauty. The term “master-mistress” is particularly striking, immediately signaling the beloved’s dual nature and powerful influence. Furthermore, the poem’s concluding lines, especially “By adding one thing to my purpose nothing,” are crucial for understanding the speaker’s ultimate declaration of platonic love. This line, often interpreted as a reference to the male genitalia, explains why the speaker’s love, while deep and admiring, cannot be physically consummated in the way he might desire for a woman. This makes Sonnet 20 a pivotal text for discussions on sexuality, gender, and the complexities of human affection in Shakespeare’s era and beyond.

In-Depth Sonnet 20 Analysis

A deeper dive into Sonnet 20 reveals Shakespeare’s masterful use of language to explore themes of beauty, identity, and the boundaries of love. The poem’s structure, imagery, and wordplay all contribute to its enduring power and intrigue.

Central Idea and Key Themes Explored

The core of Sonnet 20 lies in its bold assertion that true beauty can defy and transcend conventional gendered expectations. The speaker’s beloved possesses an unparalleled charm that combines the softness of a woman with the steadfastness and captivating power often associated with men. This challenges the rigid gender roles prevalent in Shakespeare’s time. The poem also delves into the theme of unrequited or, more accurately, unconsummated love, as the speaker expresses profound admiration but acknowledges a physical barrier to romantic fulfillment. This leads to a unique declaration of platonic affection, where the speaker claims the beloved’s emotional love while ceding physical intimacy to others. The sonnet thus becomes a profound meditation on the multifaceted nature of love, distinguishing between admiration, affection, and sexual desire.

Detailed Analysis: Quatrain by Quatrain

First Quatrain (Lines 1-4): The Paradox of Androgynous Beauty
The poem opens with an immediate paradox, describing the beloved’s face as having been “A woman’s face, with nature’s own hand painted.” This suggests a natural, effortless beauty, yet the speaker immediately complicates this by addressing the beloved as “Hast thou, the master-mistress of my love.” The oxymoronic “master-mistress” instantly establishes the beloved’s dual gendered appeal and powerful hold over the speaker’s affections. The speaker further praises a “A woman’s gentle heart, but not acquainted, With shifting change as is false woman’s fashion.” Here, the beloved possesses the desirable gentleness of a woman but lacks the perceived fickleness or deceit often attributed to women in Elizabethan literature. This sets the beloved apart as superior and uniquely steadfast.
Second Quatrain (Lines 5-8): Universal Allure and Captivating Gaze
This section focuses on the beloved’s captivating eyes and universal appeal. The eyes are described as “An eye more bright than theirs, less false in rolling,” implying a sincerity and brilliance that surpasses others. This gaze has a transformative effect, “Gilding the object whereupon it gazeth,” meaning it beautifies everything it looks upon. The beloved’s physical presence is then described as “A man in hue, all hues in his controlling,” suggesting a masculine complexion or overall appearance that commands attention and embodies all shades of beauty. This powerful allure is so potent that it “Which steals men’s eyes and women’s souls amazeth,” indicating that both men and women are captivated, men by the visual appeal and women by a deeper, perhaps emotional or spiritual, connection.
Third Quatrain (Lines 9-12): Nature’s Design and the Speaker’s Defeat
The speaker delves into the beloved’s creation, asserting that “And for a woman was the thing which thou,” implying that nature initially intended the beloved to be female. However, nature herself became so enamored with her creation that “Till nature as she wrought thee fell a-doting,” she made a crucial alteration. This alteration, the speaker laments, resulted in his romantic “defeat”: “And by addition me of thee defeated, By adding one thing to my purpose nothing.” The “one thing” is widely interpreted as the addition of a penis, which, for the speaker’s romantic and sexual “purpose” (which would typically involve a woman), renders the beloved “nothing” in terms of fulfilling that specific desire. This line is central to understanding the speaker’s complex, non-sexual admiration.
Concluding Couplet (Lines 13-14): A Resolution of Platonic Love
The sonnet concludes with the speaker’s resolution regarding his love for this uniquely created individual. He acknowledges nature’s final intention: “But since she pricked thee out for women’s pleasure,” meaning nature designed the beloved with male genitalia specifically for the sexual pleasure of women. Despite this, the speaker claims a different kind of love: “Mine be thy love, and thy love’s use them treasure.” The speaker desires the beloved’s affection and emotional devotion (“thy love”), while conceding that the physical “use” of that love, meaning sexual intimacy, is for women to “treasure.” This couplet solidifies the speaker’s platonic, yet deeply admiring, love for the young man, distinguishing between emotional connection and physical desire.

Literary and Poetic Devices in Sonnet 20

Shakespeare masterfully employs a rich array of literary and poetic devices to imbue Sonnet 20 with its profound meaning and musicality. Understanding these elements enhances appreciation for the poem’s artistry.

Oxymoron: The most striking example is “master-mistress” (line 2). This paradoxical term immediately establishes the beloved’s dual gendered qualities and powerful influence, combining traditionally masculine authority with feminine charm.
Personification: Nature is personified as a conscious creator who “painted” the beloved’s face (line 1) and later “fell a-doting” (line 10) on her own creation, suggesting a divine, almost mischievous, hand in the beloved’s unique formation.
Metaphor: The entire poem can be seen as an extended metaphor comparing the beloved to a perfect, yet complex, work of art crafted by nature. Specific metaphors include the eyes “Gilding the object whereupon it gazeth” (line 6), where the gaze is likened to a precious metal, enriching what it touches.
Imagery: Vivid sensory details create strong mental pictures. Examples include “A woman’s face, with nature’s own hand painted” (line 1), evoking a natural, artistic beauty, and “An eye more bright than theirs, less false in rolling” (line 5), painting a picture of sincere, luminous eyes.
Pun/Wordplay: Shakespeare frequently uses words with double meanings.
- “Hue” (line 7) can refer to complexion or color, but also sounds like “hew,” meaning to cut or shape, subtly hinting at nature’s crafting.
- “Pricked” (line 13) carries the literal meaning of selecting or marking out, but also a bawdy double entendre referring to the male genitalia, directly linking to the “one thing” from the previous quatrain.
- “Use” (line 14) means both benefit or enjoyment, and also sexual intercourse, reinforcing the distinction between the speaker’s platonic love and women’s sexual pleasure.
Alliteration: The repetition of initial consonant sounds adds musicality and emphasis. For example, “master-mistress of my love” (line 2) and “false woman’s fashion” (line 4).
Assonance: The repetition of vowel sounds within words creates internal rhyme and rhythm. Consider “bright than theirs, less false in rolling” (line 5).
Iambic Pentameter: The sonnet adheres to the traditional rhythm of ten syllables per line, alternating unstressed and stressed syllables, creating a natural, conversational flow that is characteristic of Shakespearean sonnets.
Rhyme Scheme: Sonnet 20 follows the classic Shakespearean rhyme scheme of ABAB CDCD EFEF GG, providing structural unity and a pleasing musical quality.
Enjambment: The continuation of a sentence or phrase from one line to the next without a pause, such as “A woman’s gentle heart, but not acquainted, With shifting change as is false woman’s fashion” (lines 3-4), creates a flowing rhythm and emphasizes the connection between ideas.

Key Quotes for Discussion and Deeper Understanding

Examining specific lines provides further insight into the poem’s complex themes and the speaker’s unique perspective.

“A woman’s face, with nature’s own hand painted,
Hast thou, the master-mistress of my love,”

These opening lines immediately establish the beloved’s extraordinary beauty and the central paradox of their identity. The “master-mistress” epithet is a powerful oxymoron, signaling a figure who commands affection with both masculine authority and feminine grace, setting the stage for the poem’s exploration of gender fluidity.

“A man in hue, all hues in his controlling,
Which steals men’s eyes and women’s souls amazeth.”

These lines highlight the beloved’s universal appeal. The phrase “A man in hue” suggests a masculine complexion or overall appearance, while “all hues in his controlling” implies a mastery of all forms of beauty. The beloved’s charm is so potent it captivates both men and women, demonstrating a rare and powerful allure that transcends conventional attraction.

“And by addition me of thee defeated,
By adding one thing to my purpose nothing.”

These are arguably the most pivotal lines in the sonnet. They reveal the speaker’s profound disappointment regarding the beloved’s physical form. The “one thing” refers to the male genitalia, which, for the speaker’s romantic “purpose” with a woman, renders the beloved unsuitable for sexual intimacy, leading to the speaker’s “defeat” in that specific romantic pursuit.

“But since she pricked thee out for women’s pleasure,
Mine be thy love, and thy love’s use them treasure.”

The concluding couplet offers the speaker’s resolution. Acknowledging that nature intended the beloved for “women’s pleasure” (sexual intimacy), the speaker claims a different, non-sexual form of affection: “Mine be thy love.” He desires the beloved’s emotional devotion and admiration, while conceding that the physical “use” of that love is for women to “treasure.” This beautifully articulates a profound, yet platonic, love.

Conclusion: The Enduring Legacy of Sonnet 20

Sonnet 20 remains a compelling and often debated poem, celebrated for its audacious exploration of beauty, gender, and the complexities of human affection. Through its unique address to an androgynous figure, Shakespeare challenges the rigid categories of love and desire, presenting a beloved whose charm transcends conventional boundaries. The poem’s masterful use of literary devices, from oxymoron to intricate wordplay, creates a rich tapestry of meaning that continues to fascinate readers. Sonnet 20 stands as a testament to Shakespeare’s genius in capturing the nuanced spectrum of human emotion, reminding us that love, in its purest form, can exist in myriad ways, even when physical intimacy is not its ultimate expression. Its enduring appeal lies in its bold questioning of societal norms and its celebration of a love that is both profound and uniquely defined.