Introduction: “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
“Sonnet 20: A woman’s face with nature’s own hand painted,” by William Shakespeare, was first published in 1609 as part of his collection Shakespeare’s Sonnets. This sonnet is renowned for its exquisite imagery, poetic language, and exploration of the enduring beauty and youthfulness of the beloved. The central theme of the poem revolves around the idea that the woman’s beauty is a masterpiece created by nature itself, surpassing any human artistry.
Text: “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
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 pricked thee out for women’s pleasure,
Mine be thy love and thy love’s use their treasure.
Annotations: “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
| Line Number | Text | Annotation |
| 1 | A woman’s face with nature’s own hand painted | The sonnet begins by comparing the woman’s face to a masterpiece created by nature itself. |
| 2 | Hast thou, the master-mistress of my passion; | The speaker addresses the woman directly, acknowledging her control over his emotions. |
| 3 | A woman’s gentle heart, but not acquainted | The woman is described as having a gentle heart, unlike the fickle and false hearts of other women. |
| 4 | With shifting change as is false women’s fashion; | This line continues to contrast the woman’s constancy with the inconstancy of other women. |
| 5 | An eye more bright than theirs, less false in rolling, | The woman’s eyes are described as being more beautiful and honest than those of other women. |
| 6 | Gilding the object whereupon it gazeth; | The woman’s gaze is said to enhance the beauty of whatever it looks upon. |
| 7 | A man in hue, all hues in his controlling, | The woman’s beauty is described as being so diverse and captivating that it can steal the attention of both men and women. |
| 8 | Which steals men’s eyes and women’s souls amazeth. | This line continues to emphasize the captivating nature of the woman’s beauty. |
| 9 | And for a woman wert thou first created, | The speaker suggests that the woman was originally intended to be a man, but nature changed her during her creation. |
| 10 | Till nature as she wrought thee fell a-doting, | This line implies that nature became so enamored with the woman that she changed her into a woman. |
| 11 | And by addition me of thee defeated | The speaker suggests that nature’s addition of femininity to the woman has made her unattainable for him. |
| 12 | By adding one thing to my purpose nothing. | This line continues to express the speaker’s frustration at the woman’s femininity, which prevents him from possessing her. |
| 13 | But since she pricked thee out for women’s pleasure, | The speaker acknowledges that the woman was created to be a source of pleasure for men. |
| 14 | Mine be thy love and thy love’s use their treasure. | The speaker declares his love for the woman, even though he knows she was created for others. He also suggests that the woman’s love should be considered a treasure that others can enjoy. |
Literary And Poetic Devices: “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
| Device | Definition | Example | Explanation |
| Alliteration | The repetition of the same consonant sound at the beginning of words. | “A woman’s face with nature’s own hand painted” | The repetition of the “w” sound creates a musical effect and emphasizes the woman’s beauty. |
| Allusion | A reference to a famous person, place, thing, or event. | “A woman’s gentle heart, but not acquainted With shifting change as is false women’s fashion;” | This line alludes to the fickle nature of women, a common stereotype in Shakespeare’s time. |
| Antithesis | The juxtaposition of contrasting ideas or images. | “An eye more bright than theirs, less false in rolling” | The contrast between the woman’s honest eyes and the dishonest eyes of other women emphasizes her superiority. |
| Hyperbole | Exaggeration for effect. | “Which steals men’s eyes and women’s souls amazeth” | The speaker exaggerates the effect of the woman’s beauty, suggesting that it can captivate both men and women. |
| Imagery | The use of vivid language to create mental pictures. | “A woman’s face with nature’s own hand painted” | This line creates a vivid image of the woman’s face as a beautiful work of art. |
| Metaphor | A comparison between two unlike things without using “like” or “as.” | “A man in hue, all hues in his controlling” | The woman’s beauty is compared to a man, suggesting that it is both powerful and captivating. |
| Oxymoron | A figure of speech combining contradictory terms. | “Gentle heart” | The word “gentle” suggests kindness and tenderness, while the word “heart” implies strength and emotion. |
| Personification | Giving human qualities to non-human things. | “Nature as she wrought thee fell a-doting” | Nature is described as being “a-doting,” suggesting that it has human emotions like love and infatuation. |
| Simile | A comparison between two unlike things using “like” or “as.” | “An eye more bright than theirs” | The woman’s eyes are compared to the eyes of other women, suggesting that they are more beautiful. |
| Symbolism | The use of symbols to represent ideas or concepts. | “A woman’s face” | The woman’s face represents beauty, perfection, and the power of nature. |
| Synecdoche | A figure of speech in which a part is used to represent the whole, or vice versa. | “Hast thou, the master-mistress of my passion;” | The word “master-mistress” is used to represent both the woman’s power and her beauty. |
| Allusion | A reference to a famous person, place, thing, or event. | “A woman’s gentle heart, but not acquainted With shifting change as is false women’s fashion;” | This line alludes to the fickle nature of women, a common stereotype in Shakespeare’s time. |
| Antithesis | The juxtaposition of contrasting ideas or images. | “An eye more bright than theirs, less false in rolling” | The contrast between the woman’s honest eyes and the dishonest eyes of other women emphasizes her superiority. |
| Hyperbole | Exaggeration for effect. | “Which steals men’s eyes and women’s souls amazeth” | The speaker exaggerates the effect of the woman’s beauty, suggesting that it can captivate both men and women. |
| Imagery | The use of vivid language to create mental pictures. | “A woman’s face with nature’s own hand painted” | This line creates a vivid image of the woman’s face as a beautiful work of art. |
| Metaphor | A comparison between two unlike things without using “like” or “as.” | “A man in hue, all hues in his controlling” | The woman’s beauty is compared to a man, suggesting that it is both powerful and captivating. |
| Oxymoron | A figure of speech combining contradictory terms. | “Gentle heart” | The word “gentle” suggests kindness and tenderness, while the word “heart” implies strength and emotion. |
| Personification | Giving human qualities to non-human things. | “Nature as she wrought thee fell a-doting” | Nature is described as being “a-doting,” suggesting that it has human emotions like love and infatuation. |
| Simile | A comparison between two unlike things using “like” or “as.” | “An eye more bright than theirs” | The woman’s eyes are compared to the eyes of other women, suggesting that they are more beautiful. |
| Symbolism | The use of symbols to represent ideas or concepts. | “A woman’s face” | The woman’s face represents beauty, perfection, and the power of nature. |
| Synecdoche | A figure of speech in which a part is used to represent the whole, or vice versa. | “Hast thou, the master-mistress of my passion;” | The word “master-mistress” is used to represent both the woman’s power and her beauty. |
Themes: “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
- The Power of Nature: Shakespeare emphasizes the extraordinary power of nature in creating beauty. The woman’s face is described as a masterpiece “with nature’s own hand painted,” suggesting that nature’s artistry surpasses human capabilities. This theme highlights the awe-inspiring beauty of the natural world and its ability to create something truly extraordinary.
- The Enduring Nature of Beauty: The sonnet explores the idea that true beauty is timeless and can withstand the test of time. The woman’s beauty is described as “A woman’s face with nature’s own hand painted,” implying that it is a work of art that will endure. This theme suggests that beauty is not merely superficial but is a deep-rooted quality that transcends fleeting trends and societal standards.
- The Limitations of Human Creation: Shakespeare contrasts the woman’s natural beauty with the limitations of human artistry. He suggests that no human artist can create something as perfect as nature. This theme highlights the superiority of the natural world and the inherent flaws and limitations of human creations.
- Unrequited Love and Frustration: The sonnet reveals the speaker’s unrequited love for the woman and his frustration at being unable to possess her. He acknowledges that she was created for the pleasure of others and that his love is futile. This theme explores the pain and anguish of unrequited love and the limitations imposed by societal expectations and conventions.
Literary Theories and “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
| Literary Theory | Explanation | References in Sonnet 20 |
| Feminist Criticism | This theory analyzes literature from a feminist perspective, focusing on gender roles, power dynamics, and the representation of women. | “A woman’s gentle heart, but not acquainted With shifting change as is false women’s fashion;” |
| New Historicism | This theory examines literature within its historical and cultural context, considering factors such as social, political, and economic conditions. | “Hast thou, the master-mistress of my passion;” |
| Psychoanalytic Criticism | This theory analyzes literature from a psychological perspective, exploring the unconscious motivations and desires of characters. | “A woman’s face with nature’s own hand painted” |
Critical Questions about “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
· How does Shakespeare portray the subject’s beauty in contrast to traditional gender roles?
- Shakespeare’s portrayal of the subject in “Sonnet 20” blends elements of both male and female beauty, defying traditional gender roles. The speaker refers to the subject as having “A woman’s face with nature’s own hand painted,” which emphasizes an idealized beauty typically associated with femininity. However, the subject is described as the “master-mistress” of the speaker’s passion, suggesting that they possess the allure of both genders. This fluidity disrupts the conventional distinctions between male and female, aligning with Renaissance anxieties and fascinations with androgyny. The subject’s beauty is seen as superior to a woman’s because it is “not acquainted / With shifting change as is false women’s fashion,” further suggesting that their beauty is more enduring and constant than the fickle, deceptive nature often ascribed to women in Elizabethan literature.
· What role does nature play in shaping the identity of the sonnet’s subject?
- Nature is personified in the sonnet as the creator of the subject’s beauty, and it plays a critical role in shaping their dual-gendered identity. The subject is initially described as having been created “for a woman,” but Nature “fell a-doting” and added something that defeated the speaker’s desires. This “addition” refers to the subject’s masculine traits, particularly the “one thing” (presumably a phallus) that disrupts the speaker’s purpose. Nature’s involvement emphasizes a form of creative imperfection or whimsy, as she altered her original plan due to excessive admiration (“doting”). This change prevents the speaker from possessing the subject in a physical or sexual manner, yet the speaker still claims the subject’s emotional love (“Mine be thy love”), leaving the physical aspect for women’s “pleasure.”
· How does the speaker’s relationship with the subject evolve throughout the poem?
- The speaker’s relationship with the subject in “Sonnet 20” is complex and evolves from admiration to acceptance of boundaries. Initially, the speaker is captivated by the subject’s beauty, describing it in terms that merge feminine softness with masculine strength. As the sonnet progresses, however, the speaker realizes that this beauty, while enchanting, is ultimately unattainable on a physical level. The addition Nature made “defeated” the speaker’s desires, as it created a divide between emotional love and physical pleasure. In the final couplet, the speaker acknowledges this limitation: “Mine be thy love and thy love’s use their treasure.” The speaker seems to reconcile the fact that while he can have the subject’s love, the physical relationship is reserved for women. This marks a shift from desire to resigned acceptance.
· How does Shakespeare explore themes of love and desire in “Sonnet 20”?
- “Sonnet 20” intricately explores the themes of love and desire, particularly in the context of unfulfilled or platonic love. The speaker expresses intense emotional attraction to the subject, admiring their beauty and character, which transcends both gender and physicality. However, the poem also acknowledges the limitations of this love, as the subject’s physical form prevents a full realization of the speaker’s desire. Shakespeare contrasts the purity and constancy of the speaker’s love with the physical, sexual desire that is reserved for women. This separation of love and lust can be interpreted as a reflection on the nature of idealized love—where emotional connection surpasses physical constraints, but also where desire must remain unfulfilled. The speaker’s final acceptance of this divide between emotional and physical love (“Mine be thy love and thy love’s use their treasure”) illustrates the tension between spiritual affection and carnal desire.
Literary Works Similar to “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
· “Ode to a Grecian Urn” by John Keats: Similarity: Like “Sonnet 20,” this poem by Keats reflects on the timeless beauty of an object (the Grecian urn) that transcends the boundaries of gender and physicality, capturing an idealized, eternal beauty much like the androgynous figure in Shakespeare’s sonnet.
· “The Picture of Little T.C. in a Prospect of Flowers” by Andrew Marvell: Similarity: Marvell’s poem explores the delicate beauty of a young girl, reflecting on innocence and purity while also acknowledging the inevitability of change and the passage of time, much like Shakespeare’s meditation on immutable beauty in “Sonnet 20.”
· “The Definition of Love” by Andrew Marvell: Similarity: Marvell’s poem, like “Sonnet 20,” grapples with unattainable love. Both poems explore love that cannot be fully realized due to external circumstances, whether it’s Nature’s intervention in Shakespeare’s poem or the cosmic impossibility in Marvell’s work.
· “She Walks in Beauty” by Lord Byron: Similarity: Byron’s poem celebrates the harmonious blending of physical beauty and inner virtue, reminiscent of how Shakespeare combines feminine beauty with masculine constancy in “Sonnet 20.”
· “The Love That Dare Not Speak Its Name” by Lord Alfred Douglas: Similarity: This poem explores themes of same-sex attraction and love that is socially or culturally unaccepted, akin to the subtext of homoerotic desire in “Sonnet 20,” where love is celebrated but physical union is denied.
Representative Quotations of “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
| Quotation | Explanation |
| “A woman’s face with nature’s own hand painted” | The speaker admires the subject’s beauty, which is as delicate and perfect as a woman’s but created directly by Nature. |
| “Hast thou, the master-mistress of my passion” | The subject is both master and mistress, blending masculine and feminine qualities, which captivate the speaker’s passion. |
| “A woman’s gentle heart, but not acquainted / With shifting change as is false women’s fashion” | The subject has a woman’s gentle heart but lacks the perceived fickleness often attributed to women. |
| “An eye more bright than theirs, less false in rolling” | The subject’s eyes are brighter than a woman’s and more honest, suggesting a purity of gaze and intention. |
| “Gilding the object whereupon it gazeth” | The subject’s gaze adds value and beauty to whatever it looks upon, further emphasizing their idealized nature. |
| “A man in hue, all hues in his controlling” | Although the subject possesses feminine beauty, they are a man, controlling all colors or aspects of beauty. |
| “Which steals men’s eyes and women’s souls amazeth” | The subject captivates both men and women, stealing the gaze of men and astonishing women, highlighting their universal allure. |
| “And for a woman wert thou first created” | The speaker suggests the subject was initially intended to be a woman, reinforcing their feminine traits. |
| “But since she pricked thee out for women’s pleasure” | Nature added male attributes to the subject, making them sexually available to women but not to the speaker. |
| “Mine be thy love and thy love’s use their treasure” | The speaker claims the subject’s emotional love while accepting that their physical relationship is reserved for women. |
Suggested Readings: “Sonnet 20: A woman’s face with nature’s own hand painted” by William Shakespeare
- Emerson, Oliver Farrar. “Shakespeare’s Sonneteering.” Studies in Philology, vol. 20, no. 2, 1923, pp. 111–36. JSTOR, http://www.jstor.org/stable/4171848. Accessed 4 Oct. 2024.
- Charles, Casey. “Was Shakespeare Gay? Sonnet 20 and the Politics of Pedagogy.” College Literature, vol. 25, no. 3, 1998, pp. 35–51. JSTOR, http://www.jstor.org/stable/25112402. Accessed 4 Oct. 2024.
- NELLES, WILLIAM. “Sexing Shakespeare’s Sonnets: Reading Beyond Sonnet 20.” English Literary Renaissance, vol. 39, no. 1, 2009, pp. 128–40. JSTOR, http://www.jstor.org/stable/24463748. Accessed 4 Oct. 2024.