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expresses desire for 'natural' beauty over 'false' beauty in Sonnet 20: 'a woman's face with nature's own hand painted'

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expresses desire for 'natural' beauty over 'false' beauty in Sonnet 20: 'a woman's face with nature's own hand painted'

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In Sonnet 20, the poetic voice presents a form of disgust at the thought of his poetic subject being too womanly in the sense of having a heart which is prone to ‘shifting changes as is a false woman’s fashion’, or an eye which is ‘more bright than theirs, less prone to rolling’. This suggests that the aesthetic appeal of a woman’s physical form is a benefit to the subject, as it makes him desirable, but to have the personality of a woman, or at least the generalised, narrow minded view of what a woman’s personality is like, presented here as scornful and unpredictable, would ruin the effect of the subject’s beauty, and desire turns to something akin to disgust when the appearance of a woman is coupled with the personality of a woman.

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-Shakespeare interweaves heterosexual desire through his sonnet 136. The poem is a mediation of will that the word is repeatedly used. The speaker acknowledges his lust for the dark lady in this outwardly sexual sonnet. He uses ‘treasure of thy love’ and ‘things of great receipt’.

The use of ‘hold me’ is rather intimate.

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'Shall I compare thee to a summer's day'
- Brings Petrarchan ideals to the forefront and focuses on beauty and brightness. Quite traditional idea

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Sonnet 131 displays both:  speaker’s internal struggle between lust for the 'Dark Lady’s’ beauty juxtaposed by disgust towards her behaviour. She is externally attractive but internally unattractive, hence there is judgement ('slander') from others about her beauty : ‘In nothing art thou black save in thy deeds, And thence this slander, as I think, proceeds’.

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'a man in hues, all hues' (Sonnet 20)

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self-disgust in sonnet 119 'what wretched errors have my heart committed' and 'how have my eyes out of their sheres been fitted in the distraction of this maddening fever!' and 'I return rebuked'. Admits infidelity, suggestion of disease and that his desire was wrong.

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self-disgust in sonnet 119 'what wretched errors have my heart committed' and 'how have my eyes out of their sheres been fitted in the distraction of this maddening fever!' and 'I return rebuked'. Admits infidelity, suggestion of disease and that his desire was wrong.

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Sonnet 18. Desire for a partner that compares to the glory of nature and who does not decline like nature which is a relatable metaphor for most readers 'more lovely and temperate than summer'

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Sonnet 18. Desire for a partner that compares to the glory of nature and who does not decline like nature which is a relatable metaphor for most readers 'more lovely and temperate than summer'

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In sonnet 56 Shakespeare compares love with appetite or hunger, 'thy edge should blunter be than appetite' hence differentiating between need and desire, the speaker implies that love is not an appetite and so this kind of love doesn’t answer a physical need; it is prompted by desire for someone.

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In 'Sonnet 2', Shakespeare explores the idea of age and beauty, in a form of a persuasive sonnet. As 'forty winters shall besiege thy brow', he focuses on the violent loss of beauty (and therefore desire). In the end, the volta suggests a change in perspective that 'This fair child of mind shall sum my count', showing the child to take on the role of continuing a legacy of beauty. There is a sense of disgust in age changing beauty

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'unswept stone, besmeared with sluttish time' (55. 4)

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sonnet 153 and 154 focus on cupid - details desire. "which borrowed from this holy fire of love", "and so the general of hot desire". 

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sonnet 153 and 154 focus on cupid - details desire. "which borrowed from this holy fire of love", "and so the general of hot desire". 

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In Sonnet 5, Shakespeare explores an attitude of digust towards 'Time' (personified) in order to emphasise the speaker's desire for the subject of the sonnet.
'For never-resting Time leads summer on /  To hideous winter, and confounds him there, / Sap checked with frost and lust leaves quite gone.' - Use of imagery pertaining to nature, embedds the tone of disgust in the overarching debate of nature and artifice across the sonnets.
'But flowers distilled, though they with winter meet, / Lose but their show; their substance still lives sweet.' - The concluding couplet of the sonnet adheres to the convention of a tonal shift. The sense of disgust towards Time is sustained, with the emphasis of the flower's loss and lack of beauty. The final sentiment of the sonnet takes on a more optimistic tone, 'their substance still lives sweet'.
Ultimately, the speaker still expresses desire whilst simultaneously occupying an attitude of disgust towards Time for its cruelty in detracting from outward beauty.

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He seems to be disgusted by the process of ageing. There is a sense that old age is the antithesis of beauty and that beauty is the most significant thing. I think this has to do with the Petrarchan sonnet trope of the silent beloved who is gazed. This is evident in the quote from sonnet 2 'Thy youth’s proud livery, so gazed on now, Will be a tattered weed, of small worth held.' There is a sense of decay with 'tattered', and the youth's value is explicitly diminished. 

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He seems to be disgusted by the process of ageing. There is a sense that old age is the antithesis of beauty and that beauty is the most significant thing. I think this has to do with the Petrarchan sonnet trope of the silent beloved who is gazed. This is evident in the quote from sonnet 2 'Thy youth’s proud livery, so gazed on now, Will be a tattered weed, of small worth held.' There is a sense of decay with 'tattered', and the youth's value is explicitly diminished. 