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This sonnet compares well to Sonnet 69. In Sonnet 69, the speaker explores the ideas of outer and inner beauty. Although the youth, or the love object, "wants nothing" physically, the speaker says that people can see further than just the outward appearance. They can see the "common" way that he acts. While the speaker finds the object of Sonnet 130 to be lacking physical conventions of beauty, but loves it anyway, the speaker of Sonnet 69 praises the beauty of the love object, while questioning its inner beauty. Both find a discontinuity in physical attractiveness and emotional attractiveness.
In form, Sonnet 130 is like many others. While I mentioned how its form rejects Petrarchan modes sometimes, it still follows the sonnet pattern fairly well. The volta is found in the final couplet. This is like Sonnet 73. Both sonnets build an argument in the first three quatrains, and then change perspective in the final couplet. This happens in Sonnet 130 as the speaker professes his love and admiration despite the lack of overly physical attractiveness. In Sonnet 73, this happens as the speaker proposes a solution to the idea of death and decay (to love what you can while you can). Both build arguments and then turn in the last two lines.