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Sonnet 130: My mistress' eyes are nothing like the sun by William Shakespeare

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Shakespeare takes twelve lines to playfully point out how his girlfriend doesn't fit the grandiose compliments that poets often give to women—her eyes aren't like the sun, her breath isn't like perfume, and she walks on the ground like everyone else.

Poet
William Shakespeare
Composed
1609 · Renaissance
Form
sonnet
Core theme
Art
The PoemFull text

Sonnet 130: My mistress' eyes are nothing like the sun

William Shakespeare, 1609

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.

Public domain

Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

Shakespeare takes twelve lines to playfully point out how his girlfriend doesn't fit the grandiose compliments that poets often give to women—her eyes aren't like the sun, her breath isn't like perfume, and she walks on the ground like everyone else. But then he turns the whole idea upside down: he loves her just as deeply as any woman who has received those outrageous praises, perhaps even more, because his love is genuine.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. My mistress' eyes are nothing like the sun; / Coral is far more red, than her lips red:

    Editor's note

    Shakespeare begins by dismissing two of the most overused compliments of his time — comparing eyes to the sun and lips to coral. He isn’t being rude; he’s simply choosing honesty. The straightforwardness is intentional.

  2. If snow be white, why then her breasts are dun; / If hairs be wires, black wires grow on her head.

    Editor's note

    He continues the list: her skin is dun (a dull grayish-brown), not snow-white. The wire image is intentionally shocking — Elizabethan love poets often compared golden hair to fine golden wires as a compliment, so Shakespeare takes that idea and applies it literally and unflatteringly to dark hair, revealing how ridiculous the original comparison has always been.

  3. I have seen roses damask'd, red and white, / But no such roses see I in her cheeks;

    Editor's note

    Damask roses — a blush-pink variety cherished in Elizabethan England — were often associated with a woman's rosy complexion. Shakespeare acknowledges that her cheeks don't resemble that ideal. Here, the honesty is the key point: real skin doesn't mirror roses, and pretending it does is a form of flattery that undermines both the woman and the poet.

  4. And in some perfumes is there more delight / Than in the breath that from my mistress reeks.

    Editor's note

    The word "reeks" stands out as the poem's most intentionally jarring choice. Back in Shakespeare's day, it meant "emanates" or "issues forth," but it had an underlying hint of unpleasantness — something Shakespeare was certainly aware of. He uses this word to challenge the typical comparison of a woman's breath to sweet perfume.

  5. I love to hear her speak, yet well I know / That music hath a far more pleasing sound:

    Editor's note

    Her voice isn't melodic, but he still loves to hear her. This line subtly reveals the emotional core the poem has been leading to: his feelings aren't tied to her meeting an unattainable standard.

  6. I grant I never saw a goddess go,-- / My mistress, when she walks, treads on the ground:

    Editor's note

    Goddesses in classical poetry are often depicted as gliding above the earth, while his mistress walks like an ordinary person. Shakespeare presents this as a straightforward reality instead of a shortcoming, subtly honoring her humanity over mythical ideals.

  7. And yet by heaven, I think my love as rare, / As any she belied with false compare.

    Editor's note

    The volta — the turn — comes in the final couplet. "Rare" signifies both precious and exceptional. "Belied with false compare" refers to being misrepresented through exaggerated comparisons. Shakespeare's point is clear: every woman celebrated with those clichéd images has been misrepresented, and his love, grounded in honest clarity, holds as much value as any of those inflated fictions.

§04Tone & mood

How this poem feels

Wry and affectionate. Shakespeare maintains a straight face throughout the entire list of non-compliments, but the underlying warmth is unmistakable. There's a dry humor in lines like "the breath that from my mistress reeks," and by the time we reach the couplet, the tone has transformed into something quietly tender and even defiant — he takes pride in loving a real person.

§05Symbols & metaphors

Symbols & metaphors

The sun, coral, snow, roses, perfume, music
These stock images come from the Petrarchan love poetry tradition — a collection of clichés that Elizabethan poets used repeatedly. Shakespeare includes them not to depict his mistress but to highlight them as a form of lazy, dishonest shorthand.
Black wires
A purposeful twist on the praise often given to golden-wire hair during that time. By using the same reasoning for dark hair, Shakespeare highlights the arbitrary and culturally charged nature of these beauty standards.
Treads on the ground
Walking on the earth instead of floating above it like a goddess represents our ordinary, grounded humanity. Shakespeare embraces this as something to love rather than seeing it as a flaw.
False compare
The poem's main focus critiques conventional poetic flattery, portraying it as a kind of deceit — directed at the woman, the reader, and love itself. Shakespeare suggests that genuine love doesn't require such embellishments.

§06Form & structure

Form & structure

Form
sonnet
Meter
iambic pentameter
Rhyme
ABAB CDCD EFEF GG

§07Historical context

Historical context

Shakespeare wrote his 154 sonnets mainly during the 1590s, but they weren't published until 1609. Sonnets 127–154 focus on a character that scholars refer to as the "Dark Lady" — a woman characterized by dark hair and dark eyes, standing in contrast to the fair-haired young man featured in the earlier sonnets. Sonnet 130 is part of this sequence. At the time, the dominant poetic style was Petrarchanism, named after the Italian poet Petrarch, whose sonnets to his idealized love, Laura, created a standard: eyes like stars, lips like rubies, skin like snow. By Shakespeare’s era, these comparisons had been overused to the point of becoming clichés. Sonnet 130 parodies this tradition, often described as an "anti-Petrarchan" sonnet. Shakespeare wasn’t alone in challenging this style — Philip Sidney and others had done it too — but he brought a unique blend of comic precision and genuine emotion to the task.

§08FAQ

Questions readers ask

Is Shakespeare insulting his mistress in this poem?

No — though it might seem that way at first. The essence of the poem is that he truly loves her, without feeling the need to embellish his feelings with absurd comparisons. The "insults" are directed at the poets who rely on those comparisons, not at the woman herself.

What does "belied with false compare" mean?

"Belied" means to misrepresent or lie about something. "False compare" refers to the exaggerated and unrealistic comparisons—like eyes resembling the sun or lips like coral—that poets often use as common flattery. Shakespeare suggests that every woman praised in such a way is being misrepresented, and he believes his love is just as genuine and unique as theirs.

What is a Petrarchan sonnet and how does this poem relate to it?

Petrarchan sonnets, inspired by the Italian poet Petrarch, celebrated the beloved with a specific set of images: starry eyes, rosy cheeks, golden hair, and sweet breath. By Shakespeare's era, these had turned into clichés. Sonnet 130 serves as an "anti-Petrarchan" poem — it intentionally goes through that list and dismisses each element, suggesting that true love doesn't rely on such fictions.

Did "reeks" mean something different in Shakespeare's time?

Yes. In Elizabethan English, "reeks" mainly meant "emanates" or "issues forth" and didn't have the strong negative smell connotation it does today. However, Shakespeare likely chose the word because it sounded unpleasant — that slight edge adds to the humor.

Who is the "Dark Lady"?

The Dark Lady refers to the unnamed woman mentioned in Sonnets 127–154. She's portrayed as having dark hair and dark eyes, which was unusual in a society that favored lighter features. Her true identity remains a mystery; scholars have suggested several possibilities over the years, but none have been conclusively identified.

What is the volta in this sonnet and where does it happen?

The volta is the turn — the moment when the poem's argument takes a new direction. In Sonnet 130, it shows up in the final couplet: "And yet by heaven, I think my love as rare..." After twelve lines of saying what isn't true, Shakespeare makes a positive declaration. All those non-compliments were leading up to this moment.

What does "damask'd" mean in line 5?

Damask roses are a particular type of rose, characterized by their blush-pink color. They were popular in Elizabethan England and often appeared in poetry as a symbol of feminine beauty. The term "Damask'd" refers to something that is patterned or colored like these roses, which feature a mix of red and white.

Is this sonnet a love poem or a criticism of love poetry?

It's both at once, and that's what makes it effective. Shakespeare employs the form of a love poem to poke fun at the clichéd conventions of love poetry, and in the process, he crafts something that feels more authentically loving than many of the poems he's critiquing. The critique and the affection are intertwined.

Key quotes

Key quotes

“My mistress' eyes are nothing like the sun;”
This opening line is the poem's thesis statement and its most recognisable line. By immediately inverting the stock Petrarchan compliment (comparing a lover's eyes to the sun), Shakespeare signals that the entire sonnet will subvert conventional love poetry — the blunt negative construction sets the satirical tone from the outset.
“And in some perfumes is there more delight Than in the breath that from my mistress reeks.”
The word "reeks" is deliberately shocking and anti-romantic, making this the poem's most jarring image. Shakespeare uses it to push the catalogue of unflattering comparisons to a comic extreme, reminding the reader how absurd idealised blazon poetry sounds when held up against real human physicality.
“I grant I never saw a goddess go,-- My mistress, when she walks, treads on the ground:”
The dash after "go" creates a dramatic pause before the punchline, and the phrase "treads on the ground" is both literal and deflating. This couplet marks the final item in Shakespeare's anti-blazon list and cleverly grounds the mistress in ordinary humanity — which turns out to be the poem's whole point.
“And yet by heaven, I think my love as rare, As any she belied with false compare.”
This closing couplet is the poem's volta and emotional core. The phrase "false compare" reframes everything that came before: Shakespeare has not been insulting his mistress but exposing other poets as liars. Genuine love, he argues, needs no exaggeration — making this an unexpectedly sincere and powerful declaration of affection.

Citation

Cite this poem

MLA

Shakespeare, William. "Sonnet 130: My mistress' eyes are nothing like the sun." 1609. Storgy, https://storgy.com/poems/sonnet-130-my-mistress-eyes-are-nothing-like-the-sun-william-shakespeare/.

APA

Shakespeare, W. (1609). Sonnet 130: my mistress' eyes are nothing like the sun. Storgy. https://storgy.com/poems/sonnet-130-my-mistress-eyes-are-nothing-like-the-sun-william-shakespeare/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

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In 'Sonnet 130,' Shakespeare dismantles the blazon tradition not to insult his mistress but to redefine what genuine love looks like: by cataloguing every way she fails the hyperbolic standard, he ultimately argues that love grounded in …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
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