With Sonnet 138 William Shakespeare takes a step back and reflects on how both he and his mistress in their relationship with each other are effectively living a lie which they both actively conspire to maintain: she pretends to be faithful to him although she fully knows that he knows that she obviously isn't, and he goes along with it when she treats him as if he were an innocent young lover who not only is still in his prime but who is also uneducated in matters of love, both of which she similarly knows not to be the case.

In Sonnet 137, William Shakespeare draws together two of the themes established by the 'Dark Lady Sonnets' thus far: his mistress's unconventional beauty and her sexual freedom.

Following the near-obsessive punning of Sonnets 135 and 136, which lent them a humorous, light-hearted tone, our poet settles back into a more evenly rounded style that is easier on our eye and ear, but no less acute in its observation and in fact ostensibly more fierce in its assessment of the situation: Sonnet 137, for all its poetic metaphorising pulls no punches and portrays this woman's looks no longer as merely 'different' but as downright ugly, and her body as a place that gives access for all men to ride.

Still, the conclusion it reaches is not one of condemnation, but of contented resignation: this is how it is now and I am thus in my desire and affection tied to her.

In Sonnet 136, William Shakespeare part develops, part reiterates the 'argument', such as it is, of Sonnet 135, that in amongst an abundance of men whom he suggests his mistress is having sex with, he should at least be one, and that she should think of him as her possibly principal lover, mostly on account of his name, Will, which here as in the previous sonnet is treated as synonymous with 'desire', 'the intention to have that desire met', 'the male sexual organ with which this is accomplished', and 'the name of the man or men to whom said sexual organ belongs', as well as the future tense when some or any of this is likely to happen.

The only sense of 'will' present in the previous sonnet that does not come into play here is the female sexual organ, but that does not make this sonnet any less salacious, because for this, Shakespeare here finds another commonly used euphemism at the time, which he latches onto and puns on for a couple of lines instead...