To begin with, one critic argues that [By “adding one thing” (line 12), an extra unstressed half-foot, Shakespeare plays with the form of the sonnet to reinforce the sonnet’s theme of sexual ambiguity] (Stackhouse, 2007). This critic implies that the word play in “Sonnet 20” “indicates the gender-bending of the sonnet’s subject matter,” which hints at the subject’s gender; the gender being revealed as a man at the end of sonnet (2007). Stackhouse (2007) noticed that the ends of each line have a feminine rhyme, which gender-bends the subject and creates sexual ambiguity. To go along with line 12, in lines 12-14, another critic suggests that it is a homosexual cry from the speaker because of their passion for intercourse with the man who he loves (Charles, 1998). The “lyric suggestiveness” of those lines seem debatable; furthermore, the critic recommends those lines could also be the speaker’s
To begin with, one critic argues that [By “adding one thing” (line 12), an extra unstressed half-foot, Shakespeare plays with the form of the sonnet to reinforce the sonnet’s theme of sexual ambiguity] (Stackhouse, 2007). This critic implies that the word play in “Sonnet 20” “indicates the gender-bending of the sonnet’s subject matter,” which hints at the subject’s gender; the gender being revealed as a man at the end of sonnet (2007). Stackhouse (2007) noticed that the ends of each line have a feminine rhyme, which gender-bends the subject and creates sexual ambiguity. To go along with line 12, in lines 12-14, another critic suggests that it is a homosexual cry from the speaker because of their passion for intercourse with the man who he loves (Charles, 1998). The “lyric suggestiveness” of those lines seem debatable; furthermore, the critic recommends those lines could also be the speaker’s