Sonnet 93 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man. Synopsis Continuing the alarmed discovery at the end of Sonnet 92, the poet here explores what it would be like to be living a life in which the young man's deceiving of him is simply unknown to the poet. Instead of dying at the moment of discovery of falsity, the poet now lives 'like a deceived husband'. The vocabulary of this sonnet repeats terms that appear throughout the sequence, and gives readers a sense of the sequence feeding off itself, finding source in its own prior utterances. Sonnet 93 features 'face' twice (15 times in the whole sequence), 'looks' twice (12 times in the whole sequence), and 'love' also twice ('love', unsurprisingly appears frequently, 172 times, throughout the Q1609 sequence). Remarkably, the poet imagines himself as being like a 'deceived husband': directly relating his friendship with the young man to marriage. The sonnet ends with the allusion to 'Eve's apple', making the 'deceived husband', the poet in line 2, into a version of Adam, and the betrayal into a version of the Fall. Otherwise, religious references in the poem seem facile or inflated: 'heaven in thy creation did decree' etc. Readers are confronted again to the exaggerated sense of betrayal expressed in these sonnets - what kind of claim could the poet have thought he had over the young man? The final line of the sonnet expresses the poet's uneasy bafflement: the young man's beautiful 'show' is completely opaque, he will only ever seem beautiful to the poet, his heart's duplicitous inner 'workings' will never betray themselves in 'moods and frowns and wrinkles strange'. That triad of terms, redundant in expression again suggests that Shakespeare in not writing at high pressure in this sonnet. 'Workings' is a rare word in Shakespeare, only here and in the no doubt near contemporary Henry IV Part 2. The unreadable, always beautiful face of the young man looks forward in the Q1609 sequence to the face of the 'woman coloured ill' in the final group of so-called 'Dark Lady' sonnets, where face and deeds match blackness, rather than the young man's mismatch of lovely appearance and morally ugly behaviour. This sonnet perhaps struggles to get the attention of