te a faster or slowing movement. He also uses commas to give the reader some guidance and emphasise the depiction of his mistress in line 3 to 4 and more important to create pauses in performance in the rhyming couplet “And yet, by heaven, I think my love as rare” (Sonnet 130 line 13). This does not seem to contradict the sonnet form, not even the Shakespearean form. After pointing out the meter of the sonnet I would like to shed some light upon each quatrain and show the overall image that is being created. The typical Blazon to me seems to describe the loved one from head to toe as if the poet was gazing along the loved one’s body. My assumption, to me, is substantiated by the very first line and the appearing movement of the sonnet from her eyes in line 1, that are ‘nothing like the sun’, to her lips that are in no way as red as coral, to her hair (in this context supposedly on her shoulders) in line 3. Following this line 11 and 12 describe her walks on the ground in a treading manner. The first quatrain is written in a negative tone and describes the mistress body in 3rd person narrative. In line 1 he uses assonance that creates a melody with the words my, eyes, and like and implements the negative simile in “nothing like the sun” – a strong anti-Petrarchan image (line 1). Line 2 further plays with the comparisons of that time by comparing her lips red to that of coral, that his mistress apparently does not possess. A parallelism is to be observed in lines 3 and 4, not only at the beginning of the line but their syntactical structure as well. Overall, I perceive a shift in described colour from line 1 “nothing like the sun” followed through in line 2 “her lip’s red” continuing to line 3 “if snow be white, why her breast are dun” into line 4 “black wires” (lines 1-4) to more darker shades that perhaps represent the Dark Lady. Quatrain 2 changes the perspective as the narrator speaks in 1st person. The damasked roses belong to the semantic field of love and are typical Petrarchan imagery as well as the negative comparison of her breath to the delight of perfume. Alliteration is also dominant in line 7 with words like than, the, that, (and enjambed into line 8) there. Quatrain 3 beginning with the Volta, has a subtle shift of tone and perception, since it begins with “I love to hear her speak, yet well I know”, however turns again in line 10 as the narrator states that “music hath a far more pleasing sound”, perhaps stating that he likes the content of her utterances rather than the sound of her voice itself (line 9-10). Line 11 and 12 employ again a Petrarchan image of a divine being of with alliterations on grant, goddess and go that his “mistress, when she walks treads on the ground”, empowering a more realistic description that she is a down-to-earth person, rather than a