• Home   /  
  • Archive by category "1"

Sonnet 20 Shakespeare Essay Ideas



Sonnet 20

Sonnet 20 in the 1609 Quarto

A woman’s face with Nature’s own hand painted
Hast thou, the master-mistress of my passion;
A woman’s gentle heart, but not acquainted
With shifting change, as is false women’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 wert thou first created;
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 prick’d thee out for women’s pleasure,
Mine be thy love and thy love’s use their treasure.

—William Shakespeare[1]

Sonnet 20 is one of the best-known of 154 sonnets written by the English playwright and poetWilliam Shakespeare. Part of the Fair Youth sequence (which comprises sonnets 1-126), the subject of the sonnet is widely interpreted as being male, thereby raising questions about the sexuality of its author. In this sonnet (as in, for example, Sonnet 53) the beloved's beauty is compared to both a man's and a woman's.


Sonnet 20 is a typical English or Shakespearean sonnet, containing three quatrains and a couplet for a total of fourteen lines. It follows the rhyme scheme of this type of sonnet, abab cdcd efef gg. It employs iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. "Only this sonnet about gender has feminine rhymes throughout."[2]

The first line exemplifies regular iambic pentameter with a final extrametrical syllable or feminine ending:

× / × / × / × / × / (×) A woman's face with nature's own hand painted, (20.1)
/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.


Sonnet 20 is most often considered to be a member of the "Fair Youth" group of sonnets, in which most scholars agree that the poet addresses a young man. This interpretation contributes to common assumption of the homosexuality of Shakespeare, or at least the speaker of his sonnet. The position of Sonnet 20 also influences its analysis and examinations. William Nelles, of the University of Massachusetts, Dartmouth, claims that, "Sonnet 20 splits readers into two groups: those who see an end to any clear sequence after this point, and those who read on, finding a narrative line connecting the rest of the sonnets in a meaningful pattern."[3] Scholars have suggested countless motivations or means of organizing Shakespeare's sonnets in a specific sequence or system of grouping. Some see the division between the sonnets written to the "young man", while others do not. A number of academics believe the sonnets may be woven into some form of complex narrative, while "Paul Edmondson and Stanley Wells confidently assert that the sonnets are 'better thought of as a collection than a sequence, since…the individual poems do not hang together from beginning to end as a single unity…Though some of the first 126 poems in the collection unquestionably relate to a young man, others could relate to either a male or female.'"[3]


The modern reader may read sonnet 20 and question whether or not Shakespeare's sexuality is reflected in this sonnet. When looking at the sexual connotations in this sonnet it is important to reflect on what homoerotism meant during the time that Shakespeare was writing. Casey Charles discusses the idea that there was no official identity for a gay person at this time. There were words that identified what we would consider to be homosexual behaviour, but the idea of a "gay culture" or "gay identity" did not exist.[4] Charles goes on to say that early modern laws against sodomy had very few transgressors, which means that either people did not engage in homosexual behavior or these acts were more socially acceptable than the modern reader would think. Shakespeare's awareness of the possible homoeroticism in Sonnet 20 does not necessarily illuminate whether or not he himself was actually practicing homosexual behavior.[5]

One of the most famous accounts to raise the issue of homoeroticism in this sonnet is Oscar Wilde's short story "The Portrait of Mr. W.H.", in which Wilde, or rather the story's narrator, describes the puns on "will" and "hues" throughout the sonnets, and particularly in the line in sonnet 20, "A man in hue all hues in his controlling," as referring to a seductive young actor named Willie Hughes who played female roles in Shakespeare's plays. However, there is no evidence for the existence of any such person. (A "hue" was a servant; see OED, "hewe". The original word in the Quarto for "hues" is "Hews.")


While there is much evidence that suggests the narrator's homosexuality, there are also countless academics who have argued against the theory. Both approaches can be used to analyze the sonnet.

Philip C. Kolin of the University of Southern Mississippi interprets several lines from the first two quatrains of Sonnet 20 as written by a homosexual figure. One of the most common interpretations of line 2 is that the speaker believes, "the young man has the beauty of a woman and the form of a man...Shakespeare bestows upon the young man feminine virtues divorced from all their reputedly shrewish infidelity."[6] In other words, the young man possesses all the positive qualities of a woman, without all of her negative qualities. The narrator seems to believe that the young man is as beautiful as any woman, but is also more faithful and less fickle. Kolin also argues that, "numerous, though overlooked, sexual puns run throughout this indelicate panegyric to Shakespeare's youthful friend."[6] He suggests the reference to the youth's eyes, which gild the objects upon which they gaze, may also be a pun on "gelding…The feminine beauty of this masculine paragon not only enhances those in his sight but, with the sexual meaning before us, gelds those male admirers who temporarily fall under the sway of the feminine grace and pulchritude housed in his manly frame."[6]

Amy Stackhouse suggests an interesting interpretation of the form of sonnet 20. Stackhouse explains that the form of the sonnet (written in iambic pentameter with an extra-unstressed syllable on each line) lends itself to the idea of a "gender-bending" model. The unstressed syllable is a feminine rhyme, yet the addition of the syllable to the traditional form may also represent a phallus.[7] Sonnet 20 is one of only two in the sequence with feminine endings to its lines; the other is Sonnet 87.[8] Stackhouse also comments on the reveal of the gender of the addressee in the final few lines as a way of Shakespeare playing with the idea of gender throughout the poem. Stackhouse's analysis of the nature aspect also seemed to play into the "gender-bending" model by creating this idea of Mother Nature falling in love with her creation and thus imparting a phallus to him. Which is represented in the extra-unstressed syllable as well.[7]

This idea of nature is also reflected in Philip C. Kolin's analysis of the last part of the poem as well. Kolin's observation of Shakespeare's discussion of the man being for "women's pleasure" does not lend itself to this idea of bisexuality or gender-bending at all. Kolin is saying that nature made him for "women's pleasure" and that is what is "natural".[6] Kolin goes on to say that the phrase "to my purpose nothing" also reflects this natural aspect of being created for women's pleasure. In this, however, he takes no account of Shakespeare's common pun of "nothing" ("O") to mean vagina.[9] Whereas Stackhouse would argue the poem is almost gender neutral, Kolin would argue that the poem is "playful" and "sexually (dualistic)".[6]



  • Baldwin, T. W. (1950). On the Literary Genetics of Shakspeare's Sonnets. University of Illinois Press, Urbana.
  • Hubler, Edwin (1952). The Sense of Shakespeare's Sonnets. Princeton University Press, Princeton.
  • Schoenfeldt, Michael (2007). The Sonnets: The Cambridge Companion to Shakespeare's Poetry. Patrick Cheney, Cambridge University Press, Cambridge.
First edition and facsimile
Variorum editions
Modern critical editions
  • Atkins, Carl D., ed. (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison: Fairleigh Dickinson University Press. ISBN 978-0-8386-4163-7. OCLC 86090499. 
  • Booth, Stephen, ed. (2000) [1st ed. 1977]. Shakespeare's Sonnets (Rev. ed.). New Haven: Yale Nota Bene. ISBN 0-300-01959-9. OCLC 2968040. 
  • Burrow, Colin, ed. (2002). The Complete Sonnets and Poems. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 978-0192819338. OCLC 48532938. 
  • Duncan-Jones, Katherine, ed. (2010) [1st ed. 1997]. Shakespeare's Sonnets. The Arden Shakespeare, Third Series (Rev. ed.). London: Bloomsbury. ISBN 978-1-4080-1797-5. OCLC 755065951. 
  • Evans, G. Blakemore, ed. (1996). The Sonnets. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. ISBN 978-0521294034. OCLC 32272082. 
  • Kerrigan, John, ed. (1995) [1st ed. 1986]. The Sonnets ; and, A Lover's Complaint. New Penguin Shakespeare (Rev. ed.). Penguin Books. ISBN 0-14-070732-8. OCLC 15018446. 
  • Mowat, Barbara A.; Werstine, Paul, eds. (2006). Shakespeare's Sonnets & Poems. Folger Shakespeare Library. New York: Washington Square Press. ISBN 978-0743273282. OCLC 64594469. 
  • Orgel, Stephen, ed. (2001). The Sonnets. The Pelican Shakespeare (Rev. ed.). New York: Penguin Books. ISBN 978-0140714531. OCLC 46683809. 
  • Vendler, Helen, ed. (1997). The Art of Shakespeare's Sonnets. Cambridge, MA: The Belknap Press of Harvard University Press. ISBN 0-674-63712-7. OCLC 36806589. 

External links[edit]

  1. ^Pooler, C[harles] Knox, ed. (1918). The Works of Shakespeare: Sonnets. The Arden Shakespeare [1st series]. London: Methuen & Company. OCLC 4770201. 
  2. ^Booth, Stephen (2000) [1977]. Shakespeare's Sonnets. New Haven: Yale Nota Bene [Yale University Press]. p. 163. ISBN 0-300-08506-0. 
  3. ^ abWilliam Nelles, "Sexing Shakespeare's Sonnets: Reading Beyond Sonnet 20," English Literary Renaissance Volume 39, Issue 1, February 2009: 128-140. Abstract
  4. ^Charles, Casey. "Was Shakespeare gay? Sonnet 20 and the politics of pedagogy." College Literature 25.3 (1998): 35-52. EBSCOhost. Web. 10 Nov. 2009.
  5. ^Charles, Casey. "Was Shakespeare gay? Sonnet 20 and the politics of pedagogy." College Literature 25.3 (1998): 35-52. EbSCOhost. Web. 10 Nov. 2009.
  6. ^ abcdeKolin, Philip C. "Shakespeare's Sonnet 20." Explicitor 45.1 (1986): 10-12. Print.
  7. ^ abStackhouse, Amy D. "Shakespeare's Half-Foot: Gendered Prosody in Sonnet 20." Explicitor 65 (2006): 202-04. Print.
  8. ^Larsen, Kenneth J."Sonnet 20". Essays on Shakespeare's Sonnets. Retrieved 30 November 2014. 
  9. ^Williams, Gordon (1997). "nothing". Shakespeare's Sexual Language: A Glossary. London: Athlone Press. p. 219. ISBN 0-8264-9134-0. 


with...painted (1): a natural beauty.

master-mistress (2): likely male-mistress. This line is hotly debated. Please see commentary below for more.

false (4): unfaithful.

rolling (5): straying.

Gilding (6): making the object seem golden.

Sonnet 20 has caused much debate. Some scholars believe that this is a clear admission of Shakespeare's homosexuality. Despite the fact that male friendships in the Renaissance were openly affectionate, the powerful emotions the poet displays here are indicative of a deep and sensual love. The poet's lover is 'the master-mistress of [his] passion.' He has the grace and features of a woman but is devoid of the guile and pretense that comes with female lovers; those wily women with eyes 'false in rolling', who change their moods and affections like chameleons.

Lines 9-14 are of particular interest to critics on both sides of the homosexual debate. Some argue these lines show that, despite his love for the young man, the poet does not want to 'have' him physically. The poet proclaims that he is content to let women enjoy the 'manly gifts' that God has given his friend. He is satisfied to love the young man in a spiritual way. But others contend that Shakespeare had to include this disclaimer, due to the homophobia of the time. "The meaning is conveyed not just by what is said but by the tone. The argument may serve to clear Shakespeare of the charge of a serious offense..." (Spender, 99).

Note the similarity to Marlowe's poem Hero and Leander (1598):
The barbarous Thracian soldier, moved with
Was moved with him, and for his favour sought.
Some swore he was a maid in man's attire.
For in his looks were all that men desire, --
A pleasant-smiling cheek, a speaking eye,
A brow for love to banquet royally;
And such as knew he was a man would say,
"Leander, thou art made for amorous play:
Why art thou not in love, and loved of all?
Though thou be fair, yet be not thine own
Sonnets 18-25 are often discussed as a group, as they all focus on the poet's affection for his friend. For more on how the sonnets are grouped, please see the general introduction to Shakespeare's sonnets.

How to cite this article:
Shakespeare, William. Sonnet 20. Ed. Amanda Mabillard. Shakespeare Online. 8 Dec. 2008. < http://www.shakespeare-online.com/sonnets/20detail.html >.

Marlowe, Christopher. Hero and Leander. London: E. Matthews and J. Lane, 1894.
Spender, Stephen. The Riddle of Shakespeare's Sonnets. New York: Basic Books, 1962.
Wright, George Thaddeus. Shakespeare's Metrical Art. Berkeley: University of California Press, 1988.

Even More...

 Shakespeare in Old English?
 Shakespeare's Influence on Other Writers
 An Elizabethan Christmas
 Clothing in Elizabethan England

 Queen Elizabeth: Shakespeare's Patron
 King James I of England: Shakespeare's Patron
 The Earl of Southampton: Shakespeare's Patron
 Going to a Play in Elizabethan London

 Ben Jonson and the Decline of the Drama
 Publishing in Elizabethan England
 Shakespeare's Audience
 Religion in Shakespeare's England

 Alchemy and Astrology in Shakespeare's Day
 Entertainment in Elizabethan England
 London's First Public Playhouse
 Shakespeare Hits the Big Time

More to Explore

 Introduction to Shakespeare's Sonnets
 Shakespearean Sonnet Style
 How to Analyze a Shakespearean Sonnet
 The Rules of Shakespearean Sonnets

 Shakespeare's Sonnets: Q & A
 Are Shakespeare's Sonnets Autobiographical?
 Petrarch's Influence on Shakespeare
 Themes in Shakespeare's Sonnets

 Shakespeare's Greatest Love Poem
 Shakespeare and the Earl of Southampton
 The Order of the Sonnets
 The Date of the Sonnets

 Who was Mr. W. H.?
 Are all the Sonnets addressed to two Persons?
 Who was The Rival Poet?


Did You Know? ... "Of the countless editions of the works of Shakespeare that show a frontispiece likeness of the poet, it is a singular fact that by far the greater number favour the 'Chandos' portrait. The face and features of Shakespeare as 'imaged' in that portrait are those with which his readers are probably most familiar. It is not easy to account for this, since the Chandos Portraitportrait is certainly not the first in point of genuineness, whatever may be its degree of artistic merit. Possibly it satisfies more fully the popular ideal of the likeness of a great creative poet than does the bust or print just referred to. Be that as it may, the 'Chandos ' portrait, for various reasons, more than justifies its being kept in the custody of the nation as a very rare and valuable relic of its greatest dramatist." Alexander Cargill. Read on....


 Shakespeare on Jealousy
 Shakespeare on Lawyers
 Shakespeare on Lust
 Shakespeare on Marriage

 Blank Verse and Diction in Shakespeare's Hamlet
 Analysis of the Characters in Hamlet
 Shakespeare on the Seasons
 Shakespeare on Sleep

One thought on “Sonnet 20 Shakespeare Essay Ideas

Leave a comment

L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *