Sonnet XXIX is a Shakespearean sonnet; it is arranged into three quatrains and a final couplet.

The speaking voice feels himself unlucky in front of destiny and men's eyes, he cries his desperate state of outcast and also if he prays heaven, it is "deaf" and it does not listen to him.

He curses his fate and he would like to be like other people, more rich in hope and more talented, with more friends  then he. He seems to hate himself.

But, in spite of his situation, when he thinks of his beloved, his inner condition changes   and he feels as if he could hear hymns at the gates of heaven, that same heaven that he called previously "deaf" and he would not  scorn his state with kings.

In the first quatrain the speaking voice's uneasiness  is voiced by his bootless cries that receive no answer so that he feels outcast.

In the second quatrain the speaking voice expresses the lirical I present condition, in which he would like to different: hopeful, skillful, with a lot of friends and with wide-horizons; he does not appreciate his qualities.

Therefore, in the third quatrain, he looks for a support: he thinks of his beloved and suddenly his mood changes, like a lark at dawn, and he would not change his situation with nobody.

The youth is able to transform his spiritual, physical and emotional condition because he is a carrier of wealth.

The insistence of pronoun "I" wants to underline the central position of he that is connected to the effect that the youth makes on him. Other repetition like "and...and", "like him...like him" has the function o stick into the reader's mind what the poet considers most important.

The alliterations of sounds [e] and  [a] in the first quatrain have the function of expressing the speaking voice's sense of suffering.

In the second quatrain prevails the alliteration of sound [s] to emphasize the qualities the speaking voice would like to have.

In the third quatrain the reader can notice the alliterartion of sound [k], especially in the metaphor of the lark.

At the end there is once again the alliteration of sound [s], but this time it is an onomatopoeic sound because the reader has the impression of hearing the "hymns at heaven's gates " .