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 damask’d, 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.
Sonnet 130 is the poet’s pragmatic tribute to his uncomely mistress, commonly referred to as the dark lady because of her dun complexion. The dark lady, who ultimately betrays the poet, appears in sonnets 127 to 154. Sonnet 130 is clearly a parody of the conventional love sonnet, made popular by Petrarch and, in particular, made popular in England by Sidney’s use of the Petrarchan form in his epic poem Astrophel and Stella. Shakespeare ends the sonnet by proclaiming his love for his mistress despite her lack of adornment, so he does finally embrace the fundamental theme in Petrarch’s sonnets: total and consuming love.
One final note: To Elizabethan readers, Shakespeare’s comparison of hair to ‘wires’ would refer to the finely-spun gold threads woven into fancy hair nets. Many poets of the time used this term as a benchmark of beauty, including Spenser:
Some angel she had been,
Her long loose yellow locks like golden wire,
Sprinkled with pearl, and pearling flowers atween,
Do like a golden mantle her attire,
And being crowned with a garland green. (Epithal).