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Content Notice (CN): Reference to misogynoir (oppression specifically against Black womxn). End of CN. Image Description (ID): Tena, a dark-skin person of color, smirks as zhe looks upward, off camera. Zhe is wearing dark jean coveralls with a white tee shirt. End of ID. Credit: The Literary and Social Traditions of “Sonnet 130” by Tena Gordon (@reformistrevolutionaryrose). End of Credit. Part 4, the Final Part: “Sonnet 130,” being satire, critiques unrealistic beauty standards but does not deconstruct the beauty standards themselves. The speaker could have described the mistress’ talents and interests in addition to, or instead of, the mistress’ looks. What is the mistress’ personality, education, etc.? The audience is not given the opportunity to emotionally connect to the mistress on a deeper level, much like other English sonnets. Instead, womxn, especially of color, are situated as background members of society. Works Cited Hudson, John. “Amelia Bassano Lanier: A New Paradigm.” The Oxfordian, vol. 10, 2009, https://shakespeareoxfordfellowship.org/wp-content/uploads/Oxfordian2009_Hudson_Bassano.pdf. Shakespeare, William. “Sonnet 130.” The Seagull Reader: Poems, edited by Joseph Kelly, 3rd ed., Norton, 2015, pp. 280. End of Part 4, the Final Part. Hashtags: #sonnet130 #AemiliaBassanoLanier #AemiliaBassano #AemiliaLanier #AemiliaLanyer #EmiliaBassano #EmiliaLanyer #EmiliaBassanoLanyer #EmiliaLanier #WilliamShakespeare End of Hashtags.

Content Notice (CN): Reference to misogynoir (oppression specifically against Black womxn). End of CN. Image Description (ID): Tena, a dark-skin person of color, smirks as zhe looks upward, off camera. Zhe is wearing dark jean coveralls with a white tee shirt. End of ID. Credit: The Literary and Social Traditions of “Sonnet 130” by Tena Gordon (@reformistrevolutionaryrose). End of Credit. Part 1: “Sonnet 130,” questionably attributed to William Shakespeare in The Seagull Reader: Poems, features a speaker responding to a close friend’s inquiry about the speaker’s lover. English sonnets are known to centralize love and confession, so this rhetorical situation is not noteworthy. Thus, the tone and message is what may seem peculiar to readers. The lover is not hailed to be remarkable. The speaker opts to describe her more simply. Despite being in an intimate space, the speaker is defensive, purposefully countering stereotypes of how a love interest should look and sound. The speaker makes it clear that their lover is not Snow White or particularly divine. But, why is the mistress defined by what she is not? The speaker seems to hold preconceived notions of how a mistress should be. Although “Sonnet 130” deviates from traditional imagery, the poem conforms to the structural, misogynist, and racist traditions of English sonnets.   Considerably, the organization of “Sonnet 130” is commonly associated with English sonnets. “Sonnet 130” has three quatrains and a concluding couplet, totaling 14 lines, so the audience can comfortably scan the poem. Furthermore, each stanza has an “abab” end rhyme, such as the third quatrain rhyming “know” (9) with “go” (11) and “sound” (10) with “ground” (12). Likewise, the end rhyme “rare” (13) and “compare” (14) in the couplet is a satisfying rhythmic conclusion. This rhyme pattern facilitates the flow of the poem and is familiar to the audience, allowing the enjambment to contradict the expectations conditioned in the audience. End of Part 1. Hashtags: #sonnet130 #AemiliaBassanoLanier #AemiliaBassano #AemiliaLanier #AemiliaLanyer #EmiliaBassano #EmiliaLanyer #EmiliaBassanoLanyer #EmiliaLanier #WilliamShakespeare End of Hashtags.