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 young to know what conscience is;
2 Yet who knows not conscience is born of love?
Yet who knows not conscience is born of love?
3 Then gentle cheater urge not my amiss,
Then, gentle cheater, urge not my amiss,
4 Lest guilty of my faults thy sweet self prove.
Lest guilty of my faults thy sweet self prove:
5 For thou betraying me, I do betray
For, thou betraying me, I do betray,
6 My nobler part to my gross body’s treason,
My nobler part to his base elements;
7 My soul doth tell my body that he may,
My soul, which but doth what it is said,
8 Triumph in love, flesh stays no farther reason,
Is acting not its part, but a part of thee:
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,
So it is not lust, though it be call'd so,
10 As his triumphant prize, proud of this pride,
It is a lesser blot, a stain, a crack,
11 He is contented thy poor drudge to be,
Compar'd with thee, all pure, all truth, all fair,
12 To stand in thy affairs, fall by thy side.
But yet I do repent; for thou hast won,
13 No want of conscience hold it that I call,
My name from all displeasures now,
14 Her love, for whose dear love I rise and fall.
By law of nature thou art bound to breed,
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.