Sonnet 151

Love is too young and innocent to have conscience, and if you judge me, you become guilty too—my body betrays my soul for you.

Original
Modern
1 Love is too young to know what conscience is,
paradox: love's innocence and guilt
Love is too immature to understand what morality means
2 Yet who knows not conscience is born of love?
Yet who doesn't know that morality itself comes from love
3 Then gentle cheater urge not my amiss,
Then you gentle deceiver, don't urge me toward my fault
4 Lest guilty of my faults thy sweet self prove.
So your sweet self won't be found guilty of my wrongdoing
5 For thou betraying me, I do betray
Because you betray me, I betray
6 My nobler part to my gross body’s treason,
My better self to my body's shameful betrayal
7 My soul doth tell my body that he may,
My soul gives my body permission
8 Triumph in love, flesh stays no farther reason,
Triumph in desire, flesh needs no further justification
Volta The volta shifts from philosophical abstraction (what conscience is) to carnal reality: the body rises and triumphs, betraying the soul.
9 But rising at thy name doth point out thee,
But aroused by your name, points to you
Wordplay: “rising at thy name”

Physical arousal; the body's automatic response to her.

10 As his triumphant prize, proud of this pride,
As its triumphant conquest, proud of this passion
11 He is contented thy poor drudge to be,
It is satisfied to be your humble servant
12 To stand in thy affairs, fall by thy side.
To stand ready in your service, collapse beside you
13 No want of conscience hold it that I call,
Don't think it's immoral that I call
14 Her love, for whose dear love I rise and fall.
She is the beloved one I devote myself to, whether I flourish or fail
Cupid as Innocent Transgressor

The opening paradox—'Love is too young to know what conscience is' / 'Yet who knows not conscience is born of love?'—is witty and deep. Love produces conscience but lacks it; conscience is both consequence and impossibility. Cupid is innocent because he predates morality itself. The beloved cannot fault the speaker for obeying Love's law.

The Triumph of Flesh

Lines 9–12 are explicitly sexual. The body 'rising at thy name' is both literal (standing) and metaphorical (erection). The body makes the speaker 'stand in thy affairs'—to be physically positioned in her, to fall 'by thy side.' The pun on 'rise and fall' (sexual thrust) is clear. This is one of Shakespeare's frankest assertions of male sexual desire overriding reason.

If this happened today

Like someone defending a sexual attraction by saying 'love doesn't think, it just acts'—a playful excuse that both acknowledges transgression and shrugs it away.