Sonnet 20

You were created with a woman's face and gentle heart, but nature fell in love with you while making you and added a masculine form; this transformation makes you perfect, but it excludes me from physical love—I can only offer you my love's devotion while others possess physical pleasure.

Original
Modern
1 A woman’s face with nature’s own hand painted,
A woman's face, created by nature's own hand,
'Painted' = created, adorned; nature as artist.
2 Hast thou the master mistress of my passion,
A paradox of gender and desire: the young man is both master and mistress, controlling masculine and feminine power.
You are the master-mistress controlling my desire,
'Master mistress' = a pun on gender and dominance; masterful feminine control.
Wordplay
  • master = commanding, dominant person
  • mistress = beloved, lover, or female lover
  • the compound 'master mistress' suggests gender transcendence and paradoxical control
3 A woman’s gentle heart but not acquainted
A gentle heart like a woman's, but not accustomed
4 With shifting change as is false women’s fashion,
To the inconstancy that marks false women,
'Fashion' = manner, custom; contrast: his gentle heart is truly constant, unlike false women.
5 An eye more bright than theirs, less false in rolling:
An eye brighter than women's, less deceptive in its gaze,
'Rolling' = roving, turning, the eye's deceptive movement; his eye is constant.
6 Gilding the object whereupon it gazeth,
Making gold everything it looks upon,
'Gilding' = covering with gold, beautifying; the eye as alchemy.
7 A man in hue all hues in his controlling,
A man in form controlling all forms and colors,
'Hue' = color, appearance, form; 'controlling' = commanding, mastering.
8 Which steals men’s eyes and women’s souls amazeth.
Who steals men's eyes and amazes women's souls.
'Steals' = captivates; simultaneous appeal to men and women, transcending gender.
Volta The volta shifts from praising the young man's paradoxical beauty to recognizing what nature's 'addition' means: exclusion from physical love, acceptance of emotional devotion only.
9 And for a woman wert thou first created,
And you were first created as a woman,
10 Till nature as she wrought thee fell a-doting,
Until nature fell in love with you as she made you,
'Fell a-doting' = fell in love, became infatuated.
11 And by addition me of thee defeated,
And by adding something, shut me out from you,
'By addition' = by adding something (masculine form); 'defeated me' = excluded me.
12 By adding one thing to my purpose nothing.
A devastating pun: the 'one thing' nature added to the young man is the source of the speaker's exclusion.
By adding one thing, making my desire impossible,
Dark pun: 'one thing' = the male sexual member, literally 'nothing' (absent in women), making the speaker's love impossible.
Wordplay
  • 'one thing' = the penis, the male sexual organ
  • 'nothing' = slang for female genitalia (the absence, in Renaissance terms, of visible male anatomy)
  • the paradox: adding a 'thing' (something) defeats the speaker's purpose by introducing a radical difference
13 But since she pricked thee out for women’s pleasure,
But since nature chose you for women's pleasure,
'Pricked thee out' = chosen you; 'pleasure' = sexual pleasure.
14 Mine be thy love and thy love’s use their treasure.
Let me have your love, and let women have your physical love.
'Use' = usage, sexual function; 'treasure' = prize, valuable commodity.
Hermaphroditic Beauty and the Problem of Desire

Sonnet 20 describes the young man as paradoxically both masculine and feminine—beautiful in the way a woman is, but formed as a man. This hermaphroditic ideal reflects Renaissance neoplatonic aesthetics, where perfect beauty transcends gender. Yet Shakespeare uses this beauty to establish a boundary: precisely because the young man is perfect in this way, the speaker cannot possess him as a lover. The sonnet transforms the young man's transcendent beauty into a barrier.

The Economics of Love: Emotional vs. Physical

Lines 13–14 establish a division of goods: the speaker claims the young man's 'love' (emotional affection), while women get the 'use' (sexual pleasure). This division attempts to make the speaker's exclusion acceptable—as if spiritual love is somehow equivalent to physical love. But the painful wit of the couplet (which turns on the pun 'one thing... nothing') suggests the speaker doesn't fully believe this consolation. By accepting this arrangement, the speaker endures a wound disguised as acceptance.

If this happened today

It's like falling for someone who's out of your league—not because of social status but because of something fundamental about how they're wired. The speaker is saying: you're perfect, and precisely because you're perfect in this way, I can't have you romantically. But I'll give you everything I have anyway.