The beloved promised bright weather but exposed the speaker to a storm; even though the beloved's tears of repentance are precious, they cannot heal the shame of being abandoned.
Lines 7–12 articulate a crucial distinction in the sonnet sequence: the difference between healing a wound and healing the shame of that wound. A physical injury (the storm) can be dried and bandaged. But the emotional injury—the betrayal itself—persists. The beloved's tears (line 13) are genuine, precious even. Yet the speaker insists that no amount of remorse can restore what was lost: trust, security, the belief in the beloved's constancy. This is a devastatingly mature observation: it recognizes that love can survive guilt, but that forgiveness does not erase the damage. The beloved is guilty, and guilt, once introduced into a relationship, cannot be entirely removed.
Lines 13–14 execute a sudden turn toward acceptance. After 12 lines of justified anger, the speaker softens: 'Ah but those tears are pearl which thy love sheds.' The 'Ah but' signals a shift from accusation to acknowledgment. The beloved's tears are real, precious ('pearl'), and abundant ('rich'). The final line—'And they are rich, and ransom all ill deeds'—suggests that the speaker chooses to accept the beloved's remorse as payment for the offense. This is not forced forgiveness but earned reconciliation. Yet note the conditional: 'ransom all ill deeds' is only true if the speaker chooses to accept the ransom. The power remains with the speaker; the beloved's tears buy pardon only if the speaker grants it.
Someone you trusted said 'I'll be there,' and you believed them, so you went out unprepared. They left you stranded. Later they cried, apologized, said they felt terrible. And you know they're sorry, you can see they regret it. But you're still soaked, still shivering, still hurt. Their tears don't dry you off. The apology doesn't undo the abandonment.