Sonnet 62—in which the speaker examines his own narcissism, including both external and internal beauty—contains many repetitive “s” sounds throughout: “self-love,” “soul,” “glass,” etc. The slippery sound of the “s” relates the feel of the poem to the subject of narcissism, connecting the self-involved words together as the speaker struggles with his own acknowledged “sin” (1). I thought it was interesting that the only line that doesn’t contain the “s” sound is line 10, in which the speaker acknowledges the decay of his external beauty as he ages. Realizing that he has become “Beated and chapped with tanned antiquity” (10), the speaker temporarily abandons the smoothly-connected “s” sounds in exchange for more arresting “b,” “p,” and “t” sounds, which bring the flow to a halt just as the speaker’s mirror gives him a reality check.