This document provides a grading rubric and checklist for a critical essay on Shakespeare's play Othello. It outlines 11 categories to be graded on a scale of 5 to 35 points each, for a total of 350 possible points. The categories include introducing and developing a critical thesis, providing examples and citations from the text, and adhering to MLA formatting standards. It also includes a sample student essay titled "Dark Mirror" that analyzes Othello's character flaws and downfall resulting from his lack of self-awareness and susceptibility to external influences like Iago. The essay discusses Othello's contrast with Hamlet and themes of introspection in Shakespeare's works.

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Final Documented Critical Essay--Othello
______ Headed your paper according to MLA standards (see p 467 in RW for example) and
formatted your paper correctly according to the standards stated in the syllabus (5 points)
______ Chose a topic that critically analyses literary elements from either Shakespeare’s
Othello (no outside stories or comparisons) (5 points)
______ Presented a solid introduction that follows the three step process (20 points)
______ Presented a critical thesis (should involve ‘the why’ not ‘the what’) (10 points)
______ Developed the thesis throughout the body using qualified critical sub-points about
the human condition (65 points)
______ Showed logical thinking in the critical analysis and exhibited smooth transitions of
thoughts throughout the essay (30 points)
______ Showed critical analysis, rather than the reporting of facts in a book-report type of
style. (35 points)
______ Presented a solid conclusion that does not contain new information but is not overly
repetitive (20 points)
______ Adhered to Standard Professional English and used the appropriate literary terms as
well as the historical present to discuss the works (30 points)
______ Avoided 1st person and 2nd person. (25 points)
______ Qualified your assertions with at least 3 examples from the text—must be cited
according to MLA standards (30 points)
______ At least 3 sources must be cited that support and enhance your thesis using MLA
format within the text. Sources must be derived from at least two of the following resources:
printed sources, electronic databases, non-print sources and interactive media (35 points)
______ Included a Works Cited page of sources, using MLA standards(35 points)
______ Submitted your paper with this cover sheet/checklist pasted directly into your
document and named your file according to the directions (This is an all or nothing category—
both must be done correctly) (5 points)
______ Total (out of 350 points)
Dana Hollis
Traci Clark
Eng 202-901
May 11, 2016

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“Dark Mirror”
Life has many challenges, and sometimes a work of art will paint a panoramic view of
them and echo the sound of a nail driven into a coffin. The Play of “Othello” by William
Shakespeare is a tragedy of the most drastic nature within the genre of dramatic plays. It is a
dark canvas spattered with the green of envy and the red of blood. It touches upon the deepest
evils in humanity, and it casts a poignant shadow on the scroll of dramatic history. Shakespeare
has a saying, “All the world's a stage/And all the men and women merely players.” (As You Like
It, Act II Scene VII). In this play by Shakespeare, all its characters are representative of us in the
living world when we falter against life’s challenges. Our dual natures keep us on the brink of
abysmal tragedy. Othello is a man of honor and courage, but he is also a man of insecurities and
fears. Othello’s character is the dark epitome of humanity’s bleakest behavior, and humanity’s
most appalling flaws, vanity and a lack of self-awareness.
It may be said about the character Othello that he was an obtuse man. He is also a most
potent enigma. Shakespeare tended to have themes that played upon the dual natures of humans,
and Othello represents a character who was one of the weakest at coming to terms with his
nature, of all Shakespeare characters. The dichotomies and dissonances that are presented to all
of us in life can be dealt with in many different ways. A contrast between two extremes of these
ways can be seen with Shakespeare’s Hamlet and Othello. Hamlet was an introspective
character while Othello was an extroverted character. These extreme characters ended as tragic
figures due to their exaggerated passions. Hamlet though, died with nobility, while Othello dies
essentially with shame. Hamlet, despite also being heavily flawed, had an extreme capacity for
self-awareness that makes it hard to believe that he would fall for Iago’s tricks, the whisperings
of an impersonal acquaintance. (Stoll) Hamlet’s grace came from self-awareness; Othello’s

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disgrace came from self-ignorance. Othello as such an extrovert, is concerned with the outer
world and does not inherently possess an inclination for dualistic reason. (Jung) He sees things
for what they appear to be, but not for how they are. He is not programmed for proper
introspection, and therefore he is more susceptible to outward influences, which tend to cloud
reason when they peddle emotions.
Othello suffers from a form of dissonance. He often contradicts himself in his own
thoughts. This can be seen in a quote from Act 3, Scene 3, when he states, “I think my wife to be
honest, and I think she is not/I think that thou art just, and think thou art not/I’ll have some proof.
Desdemona, that was as fresh/As Dian’s visage, is now begrimed and black/As my own face.”
(3.3.384-388) Here Othello comes close to self-awareness. Self-awareness often involves
contradictory notions, as wisdom requires comprehensive analysis. However, his generally
excessive outward point of view overwhelms and renders this flicker of inner awareness to
oblivion.
The path to wisdom and awareness, and thusly to moral behavior, can be strewn with
some contradictions, but these can be sidestepped with introverted reflection. A multi-
dimensional character, sprinkled with aspects of both extroversion and introversion, is the ideal
personage. It is important for one to know that they are just as responsible for action as the
other. This knowledge is a deterrent to self-delusion. Othello once appeared noble and
wholesome, but as the play acts out and he is corrupted by the actions of Iago, a “transitive
corruption” that renders Othello “morally unsound”, (Paulson) he diminishes himself through a
state of delusion, and we can then see that his nobility and honor may not be so resplendent. His
actual character is tarnished with insecurities and fears for reputation, and does not have
concerns for responsible action. A lack of healthy introspection causes his nobility to be

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misdirected. Emotion excites his fantasies and dulls his intellect and reason. (Bradley) This can
be seen when Othello remarks as he prepares to die, “Speak of me as I am, nothing
extenuate/Nor set down in malice. Then must you speak/Of one that lov’d not wisely but too
well/Of one not easily jealous, but being wrought/Perplexed in the extreme… (5.2.342-346).
This shows that as an extrovert, Othello tends to be consumed by desires for popular reputation
and he spends his last words on exclaiming attributes for himself that advertise chivalry and
humility. Obviously, his ultimate actions belie these types of adjectives. He may mean well, but
his imbalanced nature compels him to behave in a manner that contradicts true nobility and
promotes atrocious self-delusion. This suggest an obtuse mind that does not discern the true give
and take that noble and honorable living requires.
It is easy to think of Othello as noble because of his military feats, but it also may be that
due in part to these militaristic proclivities he developed a rather overly-inflated sense of heroism
and an exaggerated sense of expectation. Due to this type of personality, Othello cannot cope
with the new environment he faces, having come to the cultured Venice and having met the
exquisite Desdemona, a lady of class, and he cannot attempt to adjust to a new lifestyle different
from a previous one because he is just naturally disinclined towards cogent introspection. He
fails to adequately perceive or understand the nuances of the differences between him and the
new environment, and consequently he is like a child in a sense, imagining but not knowing,
vulnerable to the shine of a plug nickel or the greasy gloss of a scavenger fish.
In order for change to occur in a person they need to examine themselves internally and
not just rely on external influences. (Jung) Othello is not equipped for this and he suffers when
the clever Iago, who is more introverted and analytical, begins to exploit his weaknesses. But it
is not only Iago who corrupts Othello, it is essentially Othello’s own myopic ego that keeps him

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from respecting any flaws in himself. In his article, “Othello, Tragedy of Effect”, E.E. Stoll
stresses a key theme that the most trustful man is also the most capable of distrust. His
innocence “inclines to a belief in guilt rather than a belief in innocence and that the most trustful
man is the most capable of distrust”. (Stoll) Othello’s trustful tendencies and lack of self-
awareness lead him into committing the most heinous of acts. Ironically, when a person like this
trust, what they are really trusting is the information that supports their already insecure fears,
and when this information condemns someone or something that they had trusted, they then tend
to distrust who or what had once been trusted. That original trust was not really trust, but a hope.
Othello is not a simple man, or stupid, but he is a man that is consumed by the need for pride and
reputation and he experiences distortion in his logic when these are threatened. “Othello” is
essentially a play about when human nature falters against its better half, and this is driven by the
inadequate self-awareness that each character has. In this play of acidic and penetrating irony, all
characters experience a downfall that is brought about by ridiculous and unfortunate weaknesses
that we all share, but that they cannot overcome.
The external challenges presented to Othello throughout the play do not fundamentally
change him, they rather embellish what is already latent in him. External factors cannot be
solely blamed for the flaws in a person’s inner self. It is only through a highly developed self-
awareness that a person can have the wisdom to see their flaws and affect the proper adjustments
to ward off the slings and arrows cast by life. Self-knowledge can contain epiphanies and
subsequent peace of mind, but in order to achieve this a person must venture through the
looking-glass and witness some hard truths about themselves. Othello’s blindness to the truths of
his own weakness endows him with the capacity for murder, and he quiets the blood of
Desdemona, and spills his own to mingle with the Devils.

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Works Cited
Bradley, A.C. “Othello: A Noble Soul Overcome by Passion.” Readings on Othello. Ed. Don
Nardo. San Diego: Greenhaven, 2000. 88-96. Print.

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Jung, Carl. The Undiscovered Self. Trans. R.F.C Hull. Boston: Little, Brown, and Company,
1958. Print.
Kennedy, X.J., Gioia, Dana. Literature: An Introduction to Fiction, Poetry, Drama, and Writing.
Othello. 8th
edition. Pearson 2011. Pp 962-1060. Print
Paulson, Ronald. Sin and Evil. New Haven, Connecticut: Yale University Press. 2007. Print.
Stoll, Elmer Edgar. Othello: An Historical and Comparative Study. New York: Haskell House,
1964. Print