This paper considers Shakespeare's Sonnet 20 through analysis of the original and extant Serbian translations, which are compared in terms of the quality of their translation solutions alongside the author's own translation, presented here in print for the first time. The criteria applied in the evaluation of the translations demand for there to be a correlation between the literal and the poetic content evoked through sound and rhythm as a bridge across which the truth translates into

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... h. Sonnet 20 is written in feminine rhyme, and is the only poem of this kind in the sequence of 154 sonnets. Key terms from the field of translation criticism are emphasized, the limits of poetic license are examined, and expert knowledge is enjoined as a crucial foundation for talent. It is imperative that the translation critic vindicate the undefended authority of the poet, who has the right to his own thought and expression.