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It ne’er did cross° my mind to ask for payment. 209 / never crossed
[to Bassanio] I pray you ‘know’ me when we meet again. 210
I wish you well, and so I take my leave.

—Bassanio 211
Dear sir, perforce° I must beseech° you further— 212 { of force} {attempt} / now urge
Take some remembrance of us as a tribute,
Not as fee. Grant me two things, I pray you:
Not to deny me this kind-hearted° offer / a sincere and kind
213
And here to pardon me for such insistence.° / persistence // being so bold

—Portia
You press me far,° and therefore I will yield: / hard / deep
Give me your gloves, I’ll wear them for your sake. 214 / to oblige you
215
And for your love, I’ll take this ring from you.
[he draws back his hand]
Do not draw back your hand—I’ll take no more. 216
And you, in love, shall not deny me this! 217

—Bassanio
This ring, good sir, alas it is° a trifle. 218 / is but
I will not shame myself to give you this.

—Portia

209. {My mind was never yet more mercenary}
/ My mind was never bent on compensation / hope of payment / on recompense
210. know me: a) recognize me, b) make love with me.
This word is found in a biblical context, as in ‘Adam knew Eve.’ Portia is saying, ‘I pray (hope) you know
me in a different way (as husband and wife) when we meet again.’ She might also be saying: ‘ I pray (hope) you
make love with me when we meet again’—as you failed to do so on our wedding night.”
211. Some productions have Bassanio run after Portia, and these lines are delivered without Antonio being
immediately present. Other productions have the dialogue continues with Antonio present.
212. / Dear sir, please wait, I must insist again—
213. {Not to deny me, and to pardon me.}
214. Many editions add the stage direction, jto Antoniok , indicating that Antonio is present and that Portia is
requesting of him his gloves. This is possible, however, it is likely that Portia requests the gloves from Bassanio, as
Antonio may not be sporting a pair of gloves at this time. If Bassanio is wearing gloves, then Portia’s request would
be apt, because the removal of Bassanio’s gloves would then reveal his ring. This is the real intention of why Portia
would ask for Bassanio’s gloves—so she can see, and then ask for, his ring. [See Additional Notes, 4.1.422]
215. for your love: A customary politeness, which, in the usual sense would mean, ‘as a token of your love,’ or ‘as
a sign of your affection and/or gratitude.’
take this ring: A more forceful position than, ‘I’ll accept this ring.’ Take is used here in contrast to give:
Portia’s initial statement, which placed the ring on Bassanio’s finger—and the giving of herself and all she owned to
him—was I give them with this ring. [3.2.171]. She is here playing the one who gives and the one who takes—as
opposed to the more docile figure who would receive.
216. I’ll take no more: Here she light-heartedly suggests to Bassanio that he need not be afraid, she will not take
his hand, just the ring. Ironically, Bassanio later thinks to cut off his own hand (and say he lost the ring in a fight) in
order to avert Portia’s rage at him for giving away the ring. [5.1.177-78].
217. in love: in kindness. It could mean, ‘you, in the name of love.’ This statement carries an ironic overtone, for
Bassanio in giving away the ring in love to the doctor, is symbolically giving away his love for Portia (who gave him
the ring).
218. / This ring good sir?—Alas it is a trifle.