Philip Weller caricature
Philip and Weller hugging

Welcome to my web site, now under development for more than twenty years.   
-- Philip Weller, November 13, 1941 - February 1, 2021
Dr. Weller, an Eastern Washington University professor of English and Shakespearean scholar for more than 50 years.

Othello: Act 5, Scene 2

           Enter OTHELLO [with a candle] and
           Desdemona in her bed [asleep].

  1   It is the cause, it is the cause, my soul,—
1. cause: proper ground of legal action, as in the phrase "show cause." Othello is trying to convince himself that he is serving justice by punishing Desdemona's crime.

  2   Let me not name it to you, you chaste stars!—
  3   It is the cause. Yet I'll not shed her blood;
  4   Nor scar that whiter skin of hers than snow,
  5   And smooth as monumental alabaster.
5. monumental alabaster: the kind of alabaster used for monuments. . . . more.

  6   Yet she must die, else she'll betray more men.
  7   Put out the light, and then put out the light:
  8   If I quench thee, thou flaming minister,
8. minister: aid, assistant.

  9   I can again thy former light restore,
 10   Should I repent me; but once put out thy light,
10. repent me: change my mind.

 11   Thou cunning'st pattern of excelling nature,
11. cunning'st . . . nature: i.e., most perfectly formed creature ever made by nature at her most excellent.

 12   I know not where is that Promethean heat
12. Promethean heat: divine fire. . . . more

 13   That can thy light relume. When I have pluck'd the rose,
13. relume: rekindle.

 14   I cannot give it vital growth again.
 15   It must needs wither: I'll smell it on the tree.
Othello with a candle looking at the sleeping Desdemona
Irène Jacob as Desdemona; Laurence Fishburne as Othello
1995 film

           [Kisses her.]

 16   Ah balmy breath, that dost almost persuade
 17   Justice to break her sword! One more, one more.

           [Kisses her.]

 18   Be thus when thou art dead, and I will kill thee,
 19   And love thee after. One more, and this the last:

           [Kisses her.]

 20   So sweet was ne'er so fatal. I must weep,
 21   But they are cruel tears: this sorrow's heavenly;
 22   It strikes where it doth love. She wakes.
21-22. cruel: strict, rigorous. this sorrow's heavenly; / It strikes where it doth love: See Hebrews 12:6 (KJV): "For whom the Lord loveth he chasteneth."

 23   Who's there? Othello?

Othello saying 'Have you pray'd tonight, Desdemon?'
"Have you pray'd tonight, Desdemon?"
Illustrator: H.C. Selous

                                           Ay, Desdemona.

 24   Will you come to bed, my lord?

 25   Have you pray'd tonight, Desdemon?

                                                     Ay, my lord.

 26   If you bethink yourself of any crime
26. crime: sin.

 27   Unreconciled as yet to heaven and grace,
 28   Solicit for it straight.
28. Solicit for it straight: immediately pray to God to forgive that sin.

 29   Alas, my lord, what do you mean by that?

 30   Well, do it, and be brief; I will walk by:
30. walk by: stand aside (to give you privacy).

 31   I would not kill thy unprepared spirit;
 32   No; heaven forfend! I would not kill thy soul.
32. forfend: forbid.

 33   Talk you of killing?

                                       Ay, I do.

                                                     Then heaven
 34   Have mercy on me!

                                  Amen, with all my heart!
Desdemona pleading to Othello

 35   If you say so, I hope you will not kill me.

 36   Humh!

 37   And yet I fear you; for you are fatal then
 38   When your eyes roll so: why I should fear I know not,
 39   Since guiltiness I know not; but yet I feel I fear.

 40   Think on thy sins.

                                   They are loves I bear to you.

 41   Ay, and for that thou diest.

 42   That death's unnatural that kills for loving.
 43   Alas, why gnaw you so your nether lip?
 44   Some bloody passion shakes your very frame:
 45   These are portents; but yet I hope, I hope,
 46   They do not point on me.
46. point on: point to.

                                             Peace, and be still!

 47   I will so. What's the matter?

 48   That handkerchief which I so loved and gave thee
 49   Thou gavest to Cassio.

                                           No, by my life and soul!
 50   Send for the man, and ask him.

                                                   Sweet soul, take heed,
 51   Take heed of perjury; thou art on thy deathbed.

 52   Ay, but not yet to die.
52. Ay, but not yet to die: According to the religious thought of the time, all humans are on their deathbed, and should always be prepared to pass on to the next life. So Desdemona agrees that she is on her deathbed, but does not agree that she is about to die. presently: immediately.

                                      Yes, presently:
 53   Therefore confess thee freely of thy sin;
 54   For to deny each article with oath
 55   Cannot remove nor choke the strong conception
55. conception: i.e., belief that you are guilty.

 56   That I do groan withal. Thou art to die.

 57   Then Lord have mercy on me!

                                                    I say, amen.

 58   And have you mercy too! I never did
 59   Offend you in my life; never loved Cassio
59. Offend you: wrong you.

 60   But with such general warranty of heaven
60. warranty of heaven: approval from heaven.

 61   As I might love: I never gave him token.
61. token: love token; i.e., the handkerchief.

 62   By heaven, I saw my handkerchief in's hand.
 63   O perjured woman! thou dost stone my heart,
63. stone: turn to stone.

 64   And makest me call what I intend to do
 65   A murder, which I thought a sacrifice:
65. sacrifice: i.e., offering to justice.

 66   I saw the handkerchief!

                                          He found it then;
 67   I never gave it him: send for him hither;
 68   Let him confess a truth.
68. confess: declare, disclose.

                                           He hath confess'd.

 69   What, my lord?

 70   That he hath used thee.

                            How? unlawfully?


 71   He will not say so.

                                  No, his mouth is stopp'd;
 72   Honest Iago hath ta'en order for't.
72. ta'en order for't: taken steps to effect it.

Othello Threatening Desdemona
Kalean Ung as Desdemona; Evan Lewis Smith as Othello
Independent Shakespeare Company, 2016

 73   O! my fear interprets: what, is he dead?

 74   Had all his hairs been lives, my great revenge
 75   Had stomach for them all.

 76   Alas! he is betray'd and I undone.

 77   Out, strumpet! weep'st thou for him to my face?

 78   O, banish me, my lord, but kill me not!

 79   Down, strumpet!

 80   Kill me tomorrow, let me live tonight!

 81   Nay, if you strive—
81. strive: struggle.

 82   But half an hour!

                                  Being done, there is no pause.
82. Being done, there is no pause: i.e., since justice is being done right now it will not stop for anything.

 83   But while I say one prayer!
Desdemona being smothered
"It is too late"
Imogen Stubbs as Desdemona
1990 TV film

                                                It is too late.

           Smothers her.

      EMILIA (At the door.)
 84   My lord, my lord! what, ho! my lord, my lord!

 85   What noise is this? Not dead? not yet quite dead?
 86   I that am cruel am yet merciful;
 87   I would not have thee linger in thy pain:
 88   So, so.

           [Dispatches her.]
Dispatches her: finishes her off. This traditional stage direction does not appear in the original text, but it is justified by Othello saying, "I would not have thee linger in thy pain." However, just what Othello does to finish her off is a puzzle.

      EMILIA (Within.)
 89   What, ho! my lord, my lord!

                                               Who's there?

      EMILIA [At the door.]
 90   O, good my lord, I would speak a word with you!

 91   Yes: 'tis Emilia. By and by. She's dead.
91. By and by: before long. Othello calls this out to Emilia.

 92   'Tis like she comes to speak of Cassio's death.—
 93   The noise was high. Ha! no more moving?
93. The noise was high: In the previous scene Othello appeared just in time to hear Cassio cry out after being wounded. He soon left the street and came home to kill his wife. Now he's thinking that because the noise in the street was so loud, Cassio must be dead.

 94   Still as the grave. Shall she come in? were't good?—
 95   I think she stirs again:—no. What's best to do?
 96   If she come in, she'll sure speak to my wife.
 97   My wife! my wife! what wife? I have no wife.
 98   O insupportable! O heavy hour!
 99   Methinks it should be now a huge eclipse
100   Of sun and moon, and that the affrighted globe
101   Should yawn at alteration.
101. yawn at alteration: gape (split open) in amazement at the great changes on earth.

      EMILIA [At the door.]
                                           I do beseech you
102   That I may speak with you, O, good my lord!

103   I had forgot thee: O, come in, Emilia.—
104   Soft; by and by. Let me the curtains draw.—
104. Soft: wait a moment. by and by: pretty soon. Othello's "Soft" is probably said to himself, and "by and by" to Emilia. He has just called to Emilia to come in, but it seems the door is locked, and he has second thoughts. Desdemona's body is in plain sight, and so he calls out to Emilia, "by and by," then closes the bed curtains.

105   Where art thou?

           [Unlocks the door.]

           Enter EMILIA.

                                What's the matter with thee now?

106   O, my good lord, yonder's foul murders done!

107   What, now?

108   But now, my lord.

109   It is the very error of the moon;
109. error: aberration, deviation from the normal course.

110   She comes more nearer earth than she was wont,
111   And makes men mad.

112   Cassio, my lord, hath kill'd a young Venetian
113   Call'd Roderigo.

                                   Roderigo kill'd?
114   And Cassio kill'd?

                                           No, Cassio is not kill'd.

115   Not Cassio kill'd! then murder's out of tune,
116   And sweet revenge grows harsh.

117   O, falsely, falsely murder'd!

                                            Alas, what cry is that?

118   That? what?

119   Out, and alas! that was my lady's voice.
119. Out: exclamation of grief.

120   Help! help, ho! help! O lady, speak again!
121   Sweet Desdemona! O sweet mistress, speak!

122   A guiltless death I die.

123   O, who hath done this deed?

124   Nobody; I myself. Farewell
125   Commend me to my kind lord: O, farewell!


126   Why, how should she be murder'd?

                                     Alas, who knows?

127   You heard her say herself, it was not I.

128   She said so; I must needs report the truth.

129   She's like a liar, gone to burning hell:
130   'Twas I that kill'd her.

                                     O, the more angel she,
131   And you the blacker devil!

132   She turn'd to folly, and she was a whore.

133   Thou dost belie her, and thou art a devil.

134   She was false as water.

                                         Thou art rash as fire, to say
135   That she was false: O, she was heavenly true!

136   Cassio did top her; ask thy husband else.
137   O, I were damn'd beneath all depth in hell,
138   But that I did proceed upon just grounds
139   To this extremity. Thy husband knew it all.

140   My husband!

141   Thy husband.

142   That she was false to wedlock?

143   Ay, with Cassio. Nay, had she been true,
144   If heaven would make me such another world
145   Of one entire and perfect chrysolite,
145. chrysolite: precious topaz.

146   I'ld not have sold her for it.

                                                 My husband!

147   Ay, 'twas he that told me first:
148   An honest man he is, and hates the slime
149   That sticks on filthy deeds.

                                                 My husband!

150   What needs this iteration, woman? I say thy husband.
150. iteration: repetition.

151   O mistress, villany hath made mocks with love!
151. made mocks with: derided, made sport of.

152   My husband say that she was false!

                                                         He, woman;
153   I say thy husband: dost understand the word?
154   My friend, thy husband, honest, honest Iago.

155   If he say so, may his pernicious soul
156   Rot half a grain a day! he lies to the heart:
157   She was too fond of her most filthy bargain.

158   Ha!

           [Othello makes a threatening gesture.]

159   Do thy worst!
160   This deed of thine is no more worthy heaven
161   Than thou wast worthy her.

                                               Peace, you were best.
161. Peace, you were best: you better shut up.

162   Thou hast not half that power to do me harm
163   As I have to be hurt. O gull! O dolt!
163. be hurt: i.e., endure hurt. gull: dupe.

164   As ignorant as dirt! thou hast done a deed—
165   I care not for thy sword; I'll make thee known,
166   Though I lost twenty lives.—Help! help, ho! help!
Emilia defying Othello; body of Desdemona in the background
"I care not for thy sword; I'll make thee known"
Illustrator: H.C. Selous

167   The Moor hath kill'd my mistress! Murder! murder!

           Enter MONTANO, GRATIANO,
           IAGO, [with others].

168   What is the matter? How now, general!

169   O, are you come, Iago? you have done well,
170   That men must lay their murders on your neck.

171   What is the matter?

172   Disprove this villain, if thou be'st a man:
173   He says thou told'st him that his wife was false:
174   I know thou didst not, thou'rt not such a villain:
175   Speak, for my heart is full.

176   I told him what I thought, and told no more
177   Than what he found himself was apt and true.
177. apt: credible.

Eimilia saying 'you told a lie'to Iago
"You told a lie, an odious, damned lie"
Kenneth Branagh as Iago; Anna Patrick as Emilia
1995 film

178   But did you ever tell him she was false?

179   I did.

180   You told a lie, an odious, damned lie;
181   Upon my soul, a lie, a wicked lie.
182   She false with Cassio!—did you say with Cassio?

183   With Cassio, mistress. Go to, charm your tongue.
183. charm: i.e., keep silent as though by a magic spell.

184   I will not charm my tongue; I am bound to speak:
185   My mistress here lies murder'd in her bed—

186   O heavens forfend!

187   And your reports have set the murder on.

188   Nay, stare not, masters: it is true, indeed.

189   'Tis a strange truth.

190   O monstrous act!

                                     Villany, villany, villany!
191   I think upon't, I think: I smell't: O villany!—
192   I thought so then:—I'll kill myself for grief:—
192. I thought so then: Before Desdemona's death, Emilia had thought an unknown villain responsible for Desdemona's slander. See 4.2.130-133

193   O villany, villany!

194   What, are you mad? I charge you, get you home.

195   Good gentlemen, let me have leave to speak:
196   'Tis proper I obey him, but not now.
197   Perchance, Iago, I will ne'er go home.

198   O! O! O!

           [He falls on the bed.]

                    Nay, lay thee down and roar;
199   For thou hast kill'd the sweetest innocent
200   That e'er did lift up eye.

                                           O, she was foul!
201   I scarce did know you, uncle: there lies your niece,
202   Whose breath, indeed, these hands have newly stopp'd:
203   I know this act shows horrible and grim.
203. shows: looks.

204   Poor Desdemon! I am glad thy father's dead:
205   Thy match was mortal to him, and pure grief
206   Shore his old thread in twain: did he live now,
206. Shore: sheared, cut. thread: thread of life.

207   This sight would make him do a desperate turn,
207. do a desperate turn: commit suicide.

208   Yea, curse his better angel from his side,
209   And fall to reprobation.
209. to reprobation: into damnation.

210   'Tis pitiful; but yet Iago knows
211   That she with Cassio hath the act of shame
212   A thousand times committed; Cassio confess'd it:
213   And she did gratify his amorous works
214   With that recognizance and pledge of love
214. recognizance: token.

215   Which I first gave her; I saw it in his hand:
216   It was a handkerchief, an antique token
217   My father gave my mother.

218   O God! O heavenly God!

219   Come, hold your peace.

                                         'Twill out, 'twill out: I peace!
220   No, I will speak as liberal as the north:
220. as liberal as the north: as freely as the north wind blows.

221   Let heaven and men and devils, let them all,
222   All, all, cry shame against me, yet I'll speak.

223   Be wise, and get you home.

                                               I will not.

           [Iago tries to stab Emilia.]

224   Your sword upon a woman?

225   O thou dull Moor! that handkerchief thou speak'st of
225. dull: ignorant.

226   I found by fortune and did give my husband;
227   For often, with a solemn earnestness,
228   More than indeed belong'd to such a trifle,
228. belong'd to: was appropriate for.

229   He begg'd of me to steal it.

                                                  Villainous whore!

230   She give it Cassio! no, alas! I found it,
231   And I did give't my husband.

                                                  Filth, thou liest!

232   By heaven, I do not, I do not, gentlemen.
233   O murderous coxcomb! what should such a fool
233. coxcomb: fool (addressed to Othello).

234   Do with so good a woman?

                             Are there no stones in heaven
234. stones: bolts, such as those used for thunderbolts.

235   But what serve for the thunder?—Precious villain!
235. Precious villain: out-and-out villain.

           [Othello attacks Iago; Montano and others
           disarm Othello. Iago stabs Emilia, and runs

236   The woman falls; sure, he hath kill'd his wife.

237   Ay, ay: O, lay me by my mistress' side.

238   He's gone, but his wife's kill'd.

239   'Tis a notorious villain. Take you this weapon,
239. notorious: exceptional, egregious.

240   Which I have here recover'd from the Moor:
240. recover'd: taken away.

241   Come, guard the door without; let him not pass,
241. without: from outside.

242   But kill him rather. I'll after that same villain,
243   For 'tis a damned slave.

           Exit [with all but Othello and Emilia].

                                           I am not valiant neither,
244   But every puny whipster gets my sword:
244. whipster: insignificant or contemptible person.

245   But why should honor outlive honesty?
245. honor: i.e., personal prowess and courage, and one's reputation for them. honesty: true, inward integrity.

246   Let it go all.

                           What did thy song bode, lady?
247   Hark, canst thou hear me? I will play the swan.
248   And die in music.
247-248. I will . . . music: The belief that at death the mute swan would sing beautifully began in Greek mythology.

Emilia weeping over body of Desdemona
Jennie Israel as Emilia; Josephine Elwood as Desdemona
Actors' Shakespeare Project, 2015

                                 "Willow, willow, willow,"—
249   Moor, she was chaste; she loved thee, cruel Moor;
250   So come my soul to bliss, as I speak true;
251   So speaking as I think, alas, I die.


252   I have another weapon in this chamber;
253   It is a sword of Spain, the ice-brook's temper:—
253. the ice-brook's temper: i.e., its steel tempered in icy water.

254   O, here it is. Uncle, I must come forth.

      GRATIANO [Out of sight behind the door.]
255   If thou attempt it, it will cost thee dear:
256   Thou hast no weapon, and perforce must suffer.

257   Look in upon me then and speak with me,
258   Or, naked as I am, I will assault thee.
258. naked: unarmed.

           [Enter Gratiano.]

259   What is the matter?

                                      Behold, I have a weapon;
260   A better never did itself sustain
261   Upon a soldier's thigh: I have seen the day,
262   That, with this little arm and this good sword,
263   I have made my way through more impediments
264   Than twenty times your stop. But (O vain boast!)
264. stop: power to stop.

265   Who can control his fate? 'tis not so now.
266   Be not afraid, though you do see me weapon'd;
267   Here is my journey's end, here is my butt,
267. butt: goal, limit (an archery term).

268   And very sea-mark of my utmost sail.
268. sea-mark: beacon or other object marking the entrance to a harbor; hence, destination, end.

269   Do you go back dismay'd? 'tis a lost fear;
269. lost: wasted, idle, unnecessary.

270   Man but a rush against Othello's breast,
270. Man but a rush: wield no more than a mere reed.

271   And he retires. Where should Othello go?
271. retires: retreats.

272   Now — how dost thou look now? O ill-starr'd wench!
273   Pale as thy smock! when we shall meet at compt,
273. compt: accounting; i.e., Judgment Day.

274   This look of thine will hurl my soul from heaven,
275   And fiends will snatch at it. Cold, cold, my girl!
276   Even like thy chastity. O cursed, cursed slave!
277   Whip me, ye devils,
278   From the possession of this heavenly sight!
279   Blow me about in winds! roast me in sulphur!
280   Wash me in steep-down gulfs of liquid fire!
281   O Desdemon! Desdemon! dead!
282   O, O!

           Enter LODOVICO, CASSIO [in a chair],
           MONTANO, and IAGO [guarded], with

283   Where is this rash and most unfortunate man?

284   That's he that was Othello: here I am.

285   Where is that viper? bring the villain forth.

          [Iago is brought forward to face

286   I look down towards his feet; but that's a fable.
286. I look down towards his feet: Othello looks to see if Iago's feet are cloven, as the devil's were thought to be. that's a fable: i.e., the fact that your feet aren't cloven doesn't prove that you aren't a devil.

287   If that thou be'st a devil, I cannot kill thee.

           [Wounds Iago.]

288   Wrench his sword from him.

                                                  I bleed, sir; but not kill'd.

289   I am not sorry neither: I'ld have thee live;
290   For, in my sense, 'tis happiness to die.
290. in my sense: i.e., to one who feels as I do.

291   O thou Othello, thou wert once so good,
292   Fall'n in the practise of a damned slave,
292. practise: plotting.

293   What shall be said to thee?

                                                Why, any thing:
294   An honorable murderer, if you will;
295   For nought I did in hate, but all in honor.

296   This wretch hath part confess'd his villany:
297   Did you and he consent in Cassio's death?

298   Ay.

299   Dear general, I never gave you cause.

300   I do believe it, and I ask your pardon.
301   Will you, I pray, demand that demi-devil
302   Why he hath thus ensnared my soul and body?

303   Demand me nothing: what you know, you know:
304   From this time forth I never will speak word.

305   What, not to pray?

                                   Torments will ope your lips.
305. Torments: torture, which was commonly used to extract confessions. ope: open.

306   Well, thou dost best.

307   Sir, you shall understand what hath befall'n,
308   Which, as I think, you know not. Here is a letter
309   Found in the pocket of the slain Roderigo;
310   And here another: the one of them imports
311   The death of Cassio to be undertook
312   By Roderigo.

313   O villain!

                         Most heathenish and most gross!
313. gross: monstrous.

314   Now here's another discontented paper,
314. discontented paper: i.e., a letter in which Roderigo states his grievances to Iago.

315   Found in his pocket too; and this, it seems,
316   Roderigo meant to have sent this damned villain;
317   But that belike Iago in the interim
318   Came in and satisfied him.

                                                 O the pernicious caitiff!
318. caitiff: despicable villain.

319   How came you, Cassio, by that handkerchief
320   That was my wife's?

                                      I found it in my chamber:
321   And he himself confess'd but even now
322   That there he dropp'd it for a special purpose
323. wrought to: worked toward, fitted in with.
323   Which wrought to his desire.

                                                     O fool! fool! fool!

324   There is besides in Roderigo's letter,
325   How he upbraids Iago, that he made him
326   Brave me upon the watch; whereon it came
326. Brave: defy, behave insolently toward.

327   That I was cast: and even but now he spake,
327. cast: dismissed from office.

328   After long seeming dead, Iago hurt him,
329   Iago set him on.

330   You must forsake this room, and go with us:
331   Your power and your command is taken off,
332   And Cassio rules in Cyprus. For this slave,
333   If there be any cunning cruelty
334   That can torment him much and hold him long,
335   It shall be his. You shall close prisoner rest,
336   Till that the nature of your fault be known
337   To the Venetian state. Come, bring away.

338   Soft you; a word or two before you go.
339   I have done the state some service, and they know't —
340   No more of that. I pray you, in your letters,
341   When you shall these unlucky deeds relate,
342   Speak of me as I am; nothing extenuate,
342. extenuate: tone down.

343   Nor set down aught in malice: then must you speak
344   Of one that loved not wisely but too well;
345   Of one not easily jealous, but being wrought
345. wrought: worked upon.

346   Perplex'd in the extreme; of one whose hand,
346. Perplex'd: bewildered, distraught.

347   Like the base Indian, threw a pearl away
347. base Indian: uncivilized Indian ignorant of the value of some precious object he finds 348. subdu'd: i.e., by grief.

348   Richer than all his tribe; of one whose subdu'd eyes,
348. subdu'd: overcome by grief.

349   Albeit unused to the melting mood,
350   Drop tears as fast as the Arabian trees
351   Their medicinable gum. Set you down this;
351. medicinable: medicinal.

352   And say besides, that in Aleppo once,
352. Aleppo: Aleppo, situated in present-day Syria, was the easternmost outpost of the Venetian empire.

353   Where a malignant and a turban'd Turk
354   Beat a Venetian and traduced the state,
355   I took by the throat the circumcised dog,
356   And smote him, thus.

           [Stabs himself.]

357   O bloody period!
357. period: climatic end of a statement.

Othello and Desdemona
"to die upon a kiss"
Laurence Fishburne as Othello; Irène Jacob as Desdemona
1995 film

                                 All that's spoke is marr'd.

358   I kiss'd thee ere I kill'd thee: no way but this;
359   Killing myself, to die upon a kiss.

           [Kisses Desdemona and] dies.

360   This did I fear, but thought he had no weapon;
361   For he was great of heart.

      LODOVICO [To Iago.]
                                             O Spartan dog,
361. Spartan dog: a kind of bloodhound noted for its silence as well as its skill and savagery.

362   More fell than anguish, hunger, or the sea!
362. fell: cruel and deadly.

363   Look on the tragic loading of this bed;
364   This is thy work: the object poisons sight;
364. object: sight, spectacle.

365   Let it be hid. Gratiano, keep the house,
365. Let it be hid: i.e., draw the bed-curtains. keep: remain in.

366   And seize upon the fortunes of the Moor,
366. seize upon: take legal possession of.

367   For they succeed on you. To you, lord governor,
367. succeed on you: become your property upon Othello's death. lord governor: i.e., Cassio.

368   Remains the censure of this hellish villain;
368. censure: judgment, sentence.

369   The time, the place, the torture: O, enforce it!
370   Myself will straight aboard: and to the state
371   This heavy act with heavy heart relate.