Kara Ireland
Dr. Bowers
ENGL 4340
February 14, 2019
Beauty Is in the Eye of the Beholder: An Analysis of Sonnet CXXVII
Blackness has always been undermined in predominant literature. History has clearly defined how to view blackness versus whiteness. White is right, and light is right, if one cannot be so fair. Eurocentrism has swindled its way to the forefront of most societies and tainted respective nonwhite cultures around the world. This was not lost on Shakespeare, who had crafted “Sonnet CXXVII” around that biased world-view. In “Sonnet CXXVII”, Shakespeare explores the origins of beauty, offering an inspired revelation after encountering a woman who contested the visions society had ingrained into everyone. “Sonnet CXXVII” simultaneously addresses the Eurocentric bias regarding beauty and controversially expands the realm to include Blackness. Shakespeare humanizes people of color through the subtle implementation of religious motifs and sub-textual allusions to slavery.
The inauthenticity and lack of credibility of Eurocentric beauty standards is repeatedly substantiated in “Sonnet CXXVII” because Shakespeare notes how those beautiful women were wearing makeup. He discredits their beauty with “art’s false borrow’d face,” insinuating that without their artful embellishments, their beauty would not be so prominent (Shakespeare 6). To enhance their features with makeup is to “[profane]” and “disgrace” any woman’s authentic beauty (Shakespeare 8). The idea of modeling “sweet beauty” based on complemented visuals at the hand of makeup is asinine because it is not real (Shakespeare 7).
He continues to oppose popular belief by affirming that those “who, not born fair, no beauty lack” (11). Due to their unfortunate circumstances, Black women were less likely to have access to makeup and thus were not included in that observation. The “false esteem” is the revelation that Eurocentrism has no merit and is not an honorable system to abide by when Shakespeare has witnessed beauty that contrasts it (12). Perhaps he has even fallen in love with a Black woman, as he makes note of his “mistress” (Shakespeare 9). The use of mistress in this context serves as an object of reverent love, and he does indeed revere the muse of this sonnet. Stripping the poetic language away from it, “Sonnet CXXVII” insinuates anyone who exists beyond the European model still reserves the right to be beautiful. Fairness excludes anyone beyond a certain pigmentation in an effort to dehumanize Black people. Shakespeare reasserts their beauty in spite of the prominent models.
There is also evidence of a religious motif throughout “Sonnet CXXVII,” as he uses it to denounce women who grace their faces with makeup. Shakespeare seems to put emphasis on the idea of naturality that has not been tampered with or altered in any way. He suggests that those who “fair the foul” by putting on makeup are going against God in doing so (Shakespeare 6). “Slandering creation” is a loaded insult that insinuates an egregious wrong against God, whose creation was not deemed sufficient enough for the woman who chooses to paint her face (Shakespeare 12). This prompts a hierarchical air amongst the naturalists and those who go about “with a false esteem” (Shakespeare 5-6). Granting that it does not come from a “holy bower” and that true beauty is not as ethereal as the ‘falsifiers’ make it seem is yet another way to denounce women who wear makeup (Shakespeare 7).
The most overt interpretation of “Sonnet CXXVII” concerns the idea of beauty, however, I was struck by its intrinsic commentary about slavery. Initially, the opening line provokes thought about the intention of the word choice “fair,” given its relevant homographic function (1). In addition to broaching the theme of beauty, this line also questions the treatment - or mistreatment, rather - of Black people as evidenced throughout history. Shakespeare makes note of the timeframe: “the old age” and this highlights the long-term abuse of Black people (1). The mistreatment of Black people is not characterized only by slavery, but includes the forced assimilation, the stripping of their religion, and the lack of rights in comparison to their white counterparts. The etymology of “fair” substantiates this claim because its predominant definition is to be free from bias, dishonesty, or injustice, all of which Black people have succumbed to (Shakespeare 1; “Fair”). Shakespeare’s use of “fair” saturates the concordance (appearing 995 times in tragedies, comedies, and sonnets alike), and it typically means pretty, in context (1). Nonetheless, the implication of it in “Sonnet CXXVII” was a cunning play on words.
Given the modern-day knowledge of 19th century slavery in America, one does have to take the era and location it was originally composed into consideration; “Sonnet CXXVII” was written in 1609. Slavery had endured for centuries, though it was not limited to the enslavement of Africans. Shakespeare mentions it not by name, but in essence, as he refers to beauty being “slander’d with a bastard shame” (3). “Bastard” is another dually functioning word that fits within either context. The Oxford English Dictionary marks it first by an illegitimate child, and subsequently by inferiority. Women of color had always been made to feel inferior due to the pigmentation of their skin in comparison to lighter-skinned company. Moreover, slavery condoned the rape of women by their masters, thus giving them illegitimate children by definition. Shakespeare’s multifaceted language has revealed itself again here in the third line and is implemented throughout this sonnet.
Eurocentrism, or a Western bias, has shaped the society Shakespeare writes about and he makes note of the disparity between how beauty is perceived amongst race. The ones in power are granted the privilege of curating the cultural standards. “Black ... bore not beauty’s name” is the simplistic embodiment of Eurocentric values because it reinforces the idea that beauty is fixed by the Europeans upholding that power structure (Shakespeare 1-2). “Black was not counted fair” denounces the ability for blackness to be deemed beautiful in a physical and psychological power trip to oppress (Shakespeare 1). Psychological abuse was the most predominantly used tool to oppress and discourage an uprising, by convincing a people that they are unworthy of praise and are devoid of value. Shakespeare understood the structure of the imbalance and exploited it by claiming Europeans were “slandering creation with a false esteem” (12).
Considering its linguistic origins, the color black is inherently a pejoration, whereas white is an amelioration; black has negative connotations, white has positive connotations. White is characterized by purity and holiness. Black is characterized by death, voids, and fear. This is not explicitly racially tied, but these connotations do contribute greatly to the disparity between the blackness and whiteness of people. “Black” is one of Shakespeare’s recurring descriptions via the concordance (having appeared 199 times), always denoting negativity and being marked by reproach, death, and ugliness (1-3). It is also interesting to illuminate the way Shakespeare ventures to name blackness as such, but only alludes to whiteness; it is almost as if that reverent whiteness is of unspeakable dimensions. “Fair” is the most substantial clue, in which it not only means pretty, but to have light skin (Shakespeare 1; “Fair”). An oppositional color is never introduced in the text, but the subtext brings it to light: whiteness is what “[bores] ... beauty’s name” (Shakespeare 2). Whiteness is what “every tongue says beauty should look so” (Shakespeare 14). Shakespeare addresses the widespread perception, then contests it with the idea that Blackness could share that description.
In a brilliantly crafted sonnet, Shakespeare manages to tackle two taboos within fourteen lines. “Sonnet CXXVII” stands out more than most, because it does not boast of a woman that meets expectation. It is an unorthodox and densely written account that confronts deeply-ingrained cultural biases. This piece is a testament to Shakespeare’s artistry, as he so masterfully brings attention to typically unaired dispositions. Discrediting the prevailing icon of beauty is a stroke of bravery because it resists the power structure. Validating the beauty of the Black woman, or daring to declare the presence of beauty in such a woman at all, effectively separates Shakespeare from his counterparts. Evident across his compositions, Shakespeare has worked to humanize victims of racism through the demonstration of how it manifests; “Sonnet CXXVII” and “Othello” are the most overt instances of humanizing people of color, via similar key words in the concordance. Due to his masterful incorporations of biases and the subtle seeds of cognizance within them, Shakespeare saw the transparencies of his era. His work stands the test of time because of it.
Works Cited
"bastard, n. and adj." OED Online, Oxford University Press, December 2018,
www.oed.com/view/Entry/16044. Accessed 14 February 2019.
"fair, adj. and n.1." OED Online, Oxford University Press, December 2018,
www.oed.com/view/Entry/67704. Accessed 14 February 2019
"mistress, n. and adj." OED Online, Oxford University Press, December 2018,
www.oed.com/view/Entry/120147. Accessed 14 February 2019.
Shakespeare, William. “Sonnet CXXVII.” The Bedford Shakespeare: First Edition. 2014.