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sincere,

Gilding the objęci whereupon ii gazeth: A mail in lnie. all liues' in his controlling.

Much steals men's eyes and wmen's souis amazeth.

And for a woman wert tliou first crealed; Till Nanire, as she wrought thee, fell a-doting. And by addition me of thee defeated. By adding one thing to my purpose nothing.

But sińce she prick’d thee out for women's pleasure. Minę be thy love and thy love's use their treasure.

Lighting up the very object that they look upon;

You are a mail in shape and form. and all men are in your control,

You catch the attention of men and amaze women's souis [liearts].

You were originally intended to be a woman;

Until Nanire, madę a mistake in making you.

And by adding one extra thing [Naturę] defeated me.

By adding one thing she has prevented me from fully having you.

But sińce Naturę equipped you for women's pleasure.

Let your body be their treasure. and let me liave your love.

ANAEYSIS

Sonnet 20 lias cansed much debate. Some scholars believe that this is a elear admission of Shakespeare's homosexuality. Despite the fact that małe 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 wiły 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 liis 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 liis friend. He is satisfied to love the young man in a spiritual way. But others contend that Sliakespeare had to include tliis disclaimer, due to the homophobia of the time.

'The meaning is conveyed not just by what is said but by the tonę. The argument may serve to elear Sliakespeare of the charge of a serious offense..." (Spender, 99). Even if the poet is, in this sonnet, refraining from pliysical relations with the young man, the thought of such relations appears to consume and please his imagination, and "from what we soon learn about tlie friend, with liis 'sensual fault' and lasciviousness, it seems unlikely that, to liim, such a relationship would be untliinkable" (Spender, 99). Moreover, in liglit of later sonnets such as 56 and 57, where the poet, in essence, tells us that his friend is cheating on him, it becomes harder and harder to conclude that the "cheating" is merely of a emotional, and not physical, naturę.

SONNET 116 PARAPHRASE

Let me not to tlie marriage of true minds Let me not declare any reasons [impediments] why

two

Admit impediments. Love is not love Tnie-minded people shouldbe married. Love is not

love

Wliich abers when it alteration finds. VVhich alters when it finds an alteration in

ciraimstances,

Or bends with the remover to remove: Or bends from its firm stand even when die lovers

are unfaithful:

O no! it is an ever-fixed mark Oh no! it is a fL\ed maik That looks on tempests and is never shaken; That sees storms but it never shaken;

It is die star to every wandering bark. It [love] is the guiding star to every lost sliip.