The dramatic function of Ophelia in Shakespeares Hamlet. Essay Example

The dramatic function of Ophelia in Shakespeares Hamlet. Paper In William Shakespeares Hamlet the character Ophelia performs a very interesting and important role in the elaboration of the plot. Ophelia is a tragic victim, a common component of Shakespeares revenge tragedies and something that the audience would have come to expect. It is perhaps surprising that a vulnerable and frail character such as Ophelia could have the great impact on the play that she does. Understanding her reactions to the patriarchal society in which she lives through her relationships with the men in her life adds greater depth to the play. Her character is revealed through her interactions with Polonius, Laertes and Hamlet, and their characters in turn revealed through their relationships with her. Ophelia allows better understanding of Hamlets complex personality. Ophelia also highlights key themes of the play, including corruption, patriarchy and deception. Before her function can be analysed, Ophelias character must be understood. Shakespeare presents her as a character of weakness, one to respond to with pity and sympathy. She has been read in very different ways- as shown in the greatly varied portrayals of her in different films. The conventional view is that she is a pure and innocent victim, but another reading of her is that she is a clever, sexually experienced but somewhat confused and naive girl. I believe that Ophelia is the epitome of goodness, childlike and nai ve, and that it was Shakespeares intention to evoke sympathy for her. I think that she teeters upon the edge of adult knowledge, with those around her fighting to suppress her sexuality. She is not sexless and does demonstrate understanding of Hamlets bawdy language. We will write a custom essay sample on The dramatic function of Ophelia in Shakespeares Hamlet. specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The dramatic function of Ophelia in Shakespeares Hamlet. specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The dramatic function of Ophelia in Shakespeares Hamlet. specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Hamlet uses broad sexual innuendo, to which her response of you are naught, you are naught (III. ii. 148) reveals that she is offended by it, at once showing that she understands, but certainly disapproves of, his language. Her chaste nature is shown by Hamlet telling her to a nunnery go (III. i. 141) so that it can remain so. Throughout the play Shakespeares use of natural and floral imagery communicates her purity. On drowning, she is surrounded by a garland of flowers and at her funeral she is allowed her virgin crants (V. i. 233) and maiden strewments. Ophelia died while collecting flowers which are symbolic of innocence, fragility and purity. The hoar leaves which symbolise the silver-grey colour of age put emphasis on Ophelias youth and innocence. Long purples are given a grosser name by liberal shepards as the roots are phallic in appearance. Cold maids, innocent virgins, refer to them as dead mans fingers which has a phallic connection. This implies that Ophelia was a cold maid herself. Those who read Ophelia as disreputable point to Polonius disdain when she speaks like a green girl (I. iii. 101) which suggests that she is not entirely so. She understands the meaning of Hamlets lewd remarks regarding country matters. and a possible reading of Ophelias comments that Young men will dot / if they come tot, by Cock / they are to blame and before you tumbled me / you promised me to wed (IV. v. 59-62) is that there existed a sexual relationship between Ophelia and Hamlet. In her sexually explicit songs, the lyrics of which include let in the maid, that out a maid / Never departed more (IV. v. 52) the implication is that the girl in the song has lost her virginity. I do not think that in singing this Opelia refers to herself, but that her madness grants her freedom to express what she was unable to discuss before, her deep love and desire for Hamlet. I think there is a sexual aspect to the frustration which drives her insane. Hamlets harsh verbal abuse is almost entirely sexual, and her mad songs contain blatant sexual references. Ophelia suffers because of the avoidance of her own sexuality. It is suppressed only to emerge later in her mad ramblings. Ophelia is a submissive character whose personality can almost be summed up with her lines I shall obey, my Lord. and I do not know, my lord, what I should think. She is controlled by her father and brother and the audience is supposed to sympathise for her, as Polonius denies her independence of choice or action, telling her You do not understand yourself so clearly / as it behoves my daughter and your honour. Ophelias madness and its causes are key parts of the plot of the play. The murder of Polonius by Hamlet leads to Ophelias demise- she loses all of the men she loved and obeyed and her identity is dependent upon them to such an extent that in their absence she does not know how to live, and becomes insane. She has never been responsible for making decisions about how to live because her father and brother have always controlled her conduct. As Claudius acknowledges, her madness is the poison of deep grief / It springs all from her fathers death. (IV. v. 75) Hamlet has been responsible for her feelings- if he loves her, she is happy, and if he does not, she is not. It is through these relationships that she knows how to live, and in the absence of this direction she commits suicide. Shakespeare cleverly uses Ophelia to reveal aspects of other characters personalities which the audience may have otherwise not been appreciated. She affects the audiences response to the characters through language, interaction, comparison and contrast. One of the vital dramatic functions of Ophelia is to give insight into Hamlets character and situation. She gives Hamlets actions and thoughts greater significance. His personality is highly complex, but through Ophelia the audience are perhaps better equipped to begin understanding it. It is through her that the audience learn the depth of his sorrow, confusion, the extent of his sense of betrayal by Gertrude and his resulting distrust of women, and can better understand his tragic flaw. Her weakness and insanity provide contrast which illuminates his strength, nobility and sanity. Hamlets harsh treatment of Ophelia shows the extent to which his mothers betrayal has affected his attitude to women as well as the depth of his grief and confusion. Disgusted by Gertrude marrying Claudius so soon after his fathers death, Hamlet becomes distrustful of women, obsessed with the connection he believes exists between female sexuality and corruption. This is shown through Hamlets damaged relationship with Ophelia, whom, as a consequence of his mothers actions, he is incapable of trusting. He perceives Gertrudes sexual misconduct as moral pollution that destroyed his facility to love Ophelia, causing him to question are you honest? are you fair? (III. i. 103) He curses her for committing such an act / That blurs the grace and blush of modesty / Calls virtue hypocrite, takes off the rose / From the fair forehead of an innocent love / And sets a blister there (III iv 42- 45) The juxtaposition of the beautiful fragility of a rose, (perhaps symbolic of Ophelia) and the blister emphasises the extent of Hamlets damage. His mother causes his cursing of all women, O most pernicious woman! O villain, villain, smiling, damned villain! and made marriage vows as false as dicers oaths causing him to tell Ophelia that they will have no more marriages. Ophelia represents the innocence and virtue of women, so Hamlets wrongful distrust of her is tragic and emphasises what Gertrude has inflicted upon him. Polonius daughter provides contrast with Hamlet, clarifying that he is sane. He fakes madness in order to achieve revenge and for Shakespeare to maintain the audiences support of Hamlet, he must have them aware that Hamlets madness is not true. An insane hero would not be a hero at all and his fate of little interest. Shakespeare presents pure madness in Ophelia with her behaviour in act four, scene five. In her madness, her language lacks the form that Hamlets never ceases to exhibit. The Gentlemans description of Ophelia as indeed distract and her speech nothing precedes the audience seeing the change in her behaviour for themselves. This intensifies the focus on her when she enters singing incomprehensible songs, and puts emphasis upon her mad state. Laertes mourns that a young maids wits / Should be as mortal as an old mans life (IV. v. 157-158) and calls her A document in madness (IV. v. 174) She is divided from herself and her fair judgement (IV v 83-84) and the dramatic function of this is to give the audience a bearing upon Hamlets madness, which is merely an antic disposition; he is not in madness, but mad in craft. Claudius notes that what he spake, though it lacked form was not like madness. Ophelia turns to favour and to prettiness, whilst the opposite is true of Hamlets mad behaviour. Shakespeares creation of Ophelia aids the audiences understanding of Hamlet because their stories parallel one another. Similar pressures bear down on both characters, but their reactions differ. Both suffer the murder of their fathers and betrayal by loved ones. Ophelias reaction is simple, and highlights the complexity of Hamlets reaction to his situation. She falls into madness and (arguably) takes her own life. In contrast miserable Hamlet only contemplates suicide. This shows his strength (meeting audience expectations, for he is the hero of the play) by highlighting the difficulty of rising above insanity and suicidal urges, making his success more impressive. He faces a constant struggle not to lose grip on his capability and godlike reason (IV. iv. 38), not to let his heart lose its nature. As the audience is shown Ophelias failure at this task, they appreciate Hamlets strength in succeeding. He ponders on to be or not to be, but does not take his own life. Hamlets story shows the danger of madness and the potentially all-consuming nature of grief. Whether it was intended or not, Ophelias story adds power to this message. Ophelias character evokes the audiences sympathy for Hamlet. When Ophelia goes insane, symbolic of the breakdown of innocence, it highlights the corrupt and rotten nature of Elsinore which enables the audience to understand Hamlets rejection of that world. He is right to be disgusted as he is; his difficulty in accepting the cruel, false environment is evidence of his noble nature. The audience are then more likely to understand why Hamlet seeks to reimpose moral values on Elsinore, and support him. Furthermore, Ophelia encourages sympathy by giving insight into how different Hamlets nature was, prior to his fathers death. In her sad reaction to Hamlets madness O what a noble mind is here oerthrown! we see Hamlet as observed by her before he changed. She tells that he possessed noble and most sovereign reason, emphasising the extent of change he seems to have undergone. Her saying that he was once an incomparable prince, the glass of fashion and the mould of form, (III. i. 156) and an unmatched form and feature of blown youth (III. i. 162) but has now been blasted with ecstasy, only serves to make Hamlet all the more tragic. Ophelias description cannot fail to evoke sympathy for him, be he truly mad or not. In addition, it is Ophelias dramatic function to elucidate Hamlets tragic flaw- his indecisiveness and inability to act. This leads to his downfall, and it is vital that the audience appreciate this. He speaks of some vicious mole of nature Shall in the general censure take corruption from that particular fault, to show that one character flaw can corrupt the entire person. Hamlets inconsistent behaviour towards Ophelia demonstrates his inability to make up his mind. This leads to his delay in dealing with Claudius and thus his demise. It is highlighted in conversation with Ophelia, when he states I did love you once (III. i. 115) then I loved you not. Only when she is buried can he conclude I loved Ophelia. Unless he has no time to reflect (for instance, when he kills Polonius), he appears incapable of deliberate action. Ophelia lends insight into Hamlets flaw by mirroring it. She is an entirely passive character; any action she takes is merely a response to others actions. Rather than actively jumping, she simply did not attempt to rescue herself when the branch holding her broke. This inaction is as characteristic of Ophelia as it is of Hamlet. The exchange between Ophelia and Hamlet increases dramatic tension in the play. The realisation of Ophelias deceitfulness causes the terrible outburst of abuse as, adding to pre-existing feelings of betrayal by Gertrude, the other woman he loves has also let him down. Gertrude chose a brother over Hamlets dead father and now Ophelia chooses a father over Hamlet. She also pushes the plot along because his violent rejection of her; I loved you not convinces Claudius that he is not really mad for her love and so immediately he determines to send Hamlet to England. I think that even in his cruel treatment of Ophelia, she makes him a more sympathetic character. He refuses to listen to her and his harsh words I loved you not. (III. i. 119) Get thee to a nunnery. And (III. i. 121) you jig, you amble, and you lisp, and nickname Gods creatures, and make your wantonness your ignorance. Go to, Ill no more ont; (III. i. 146-48), far from being evidence of a spiteful nature, just confirms the depth of his sorrow and disturbance by recent events. As commented upon by critic A. W. Von Schlegel, Hamlet is too much overwhelmed with his own sorrow to have any compassion to spare for others. The fact he must forsake his love in order to appear insane and get his revenge is tragic. I think that Hamlet is truthful in later declaring I loved Ophelia but advises her to go to a nunnery to escape the torturous nature and corruptive power of love. He is being cruel to be kind, and his desire to protect her demonstrates his nobility. A nunnery would be a place where she could remain chaste and not be a breeder of sinners. Ophelia gives the personalities of other characters greater depth, and consequently improves the play. Her nature contrasts and therefore emphasises that of others. Claudius coldness is highlighted when she describes Hamlets madness using beautiful imagery, saying that it has sucked the honey of his music vows and as like sweet bells jangled out of tune and harsh. Hers is a pitying speech that contrasts greatly with Claudius abrupt and heartless reaction, which is emphasised when so easily compared to Ophelias. He simply dismisses the notion of love- his affections do not that way tend. (III. i. 165) There is a great contrast, too, between the characters of Polonius children. This serves to highlight the qualities of each; while Ophelia is connected to water and submissiveness, and told too much of water hast thou, Laertes is the opposite, with a bold nature likened to fire and blaze. Ophelia goes mad as the violence of grief is internalised and destroys her, but in contrast her brothers violence explodes outward- they enact the alternative responses to the power of grief. Ophelia reveals much about Polonius, whom it is important that the audience have an understanding of. She exposes his inconsiderate nature and disrespect for others, perhaps lessening the audiences readiness to sympathise with him upon his death. Ophelia is ruthlessly manipulated by her father. He extracts the details of Hamlets solicitings from her and proudly presents the love letter to Claudius. Hamlet beautifies Ophelia in it, yet Polonius calls it a vile phrase. He tells her he would not, in plain terms, from this time forth have you so slander any moment leisure as to give words or talk with the Lord Hamlet. Look tots, I charge you. Come your ways. (I. iii. 132-35) this highlights his controlling, egotistic nature. Polonius refers to the relationship as being like one of enemies, Hamlet being someone who Ophelia must protect herself from. Polonius makes decisions for his daughter without consideration of her feelings for Hamlet. His doubting of Hamlets intentions is perhaps more telling of his own disposition than of Hamlets; I think he judges Hamlet by his own standards. Polonius contempt for Hamlet is shown through Ophelia. The general implication is that romantic love is of no importance to Polonius. He is happy to manipulate Ophelia to his advantage. At the closing of the conversation, he hardly notices her distress and when he asks how now, Ophelia? / You need not tell us what Lord Hamlet said. / We heard it all (III. i. 178) it is clear that to him her consternation is inconsequential; what matters is the political implication of what he has witnessed.

Learn About the History of Hyperbaric Chambers

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Wittgensteins Picture Theory in the Tractatus

Wittgensteins Picture Theory in the Tractatus AN EVALUATION OF WITTGENSTEIN’S PICTURE THEORY IN THE TRACTATUS Wittgenstein created the picture theory of meaning in his Tractatus Logico-Philosophicus as a way to look at how design and the mechanics of artistic drawing are translated from an interaction with the physical world as well as to expound on his interests in ethics and the mythical state of existence. This paper explores Wittgenstein’s picture theory as it is explained within his work, Tractatus, in order to understand the true dynamics of what he was trying to propose and how it is still relevant today. Before delving into the obtuse philosophical ideas that Wittgenstein puts forth in his first book, the Tractatus, it is important to take a moment to first get a sense of why the book was written and why it seemed to be so difficult to digest. This book was written while Wittgenstein was serving with the Austrian army during World War I and whilst a prison of war in Italy (Jago 2006: 1). The idea of the book sprung out of his work related to the â€Å"analysis of complex sentences into symbolic components† (Cashell 2005: 6). His theory was that â€Å"if a proto-sign was discovered to represent the universal form of the general proposition, then such a sign would somehow also demonstrate the logical structure underlying language: that which enables language to describe†¦a reality apparently indifferent to our description of it† (Cashell 2005: 6). His conclusion that â€Å"the relational form (logo) co-ordinating thought, language and the world was pictorial in natu re† (Cashell 2005: 6), setting the foundation for the Tractatus. The book is written in a condensed writing style that reflects the depth and complexity of what Wittgenstein was trying to express in as logical manner as possible (Jago 2006: 1). Wittgenstein divided the book up into a series of numbered paragraphs that represented seven integer propositions and created an outline of the book (Hauptli 2006: 6). The Tractatus was the vehicle that Wittgenstein used to explain his picture theory. It is important to note that the picture theory did not just mean visual images. The theory also incorporated language, music, art, and engineering. Primarily, Wittgenstein relied on engineering, or projection drawing, as the basis for the picture theory because it seemed like the easiest way to explain his ideas (Biggs 2000: 7). His main objective in creating the Tractatus was to â€Å"determine the limit of expression of thought† and â€Å"establish the notion of the projective form in his picture theory† by making â€Å"a logical correspondence between the language and reality† (Actus 2007: 2-3). The picture theory is defined as â€Å"a theory of intentionality, i.e. aboutness† (Mandik 2003: 2). The premise of this theory attempted to make â€Å"an explicit distinction between what can be said and what can be shown† (Biggs 2000: 7). In simplifying what he was trying to say, the basic idea of the theory â€Å"says the function of language is to allow us to picture things† (Jago 2006: 1). Wittgenstein was fascinated with the idea of how to achieve pure realism in visual, artistic, and language mediums (Mandik 2003: 1). It is about using these mediums to create â€Å"the identification of aboutness with resemblance: something is about that which it resembles† (Mandik 2003: 2). Everything is based on the fact that observations are made of â€Å"how paintings and photographs represent their subjects,† meaning they have the properties of those objects but have the inability to be the same as those objects (Mandik 2003: 3). Since anything can resem ble a number of objects without being those objects, there is much that is open to interpretation just like words used in sentences can have a lot of meanings (Mandik 2003: 4). However, Wittgenstein did suggest that there had to be a logical connection between the reality and the picture projected of that reality (Actus 2007: 1). In delving farther into the idea of what can be said and what can be shown, many who have studied the picture theory believe that it is based on the analogy of depiction where â€Å"an engineering drawing is derived by means of projection from the object, and the way in which language and/or thought is derived from the world around us† (Biggs 2000: 1). This analogy does not mean that the world is like the representation but instead is based on an interpretation of what the artist or mechanical engineer sees from their perspective (Biggs 2002: 2). This means that â€Å"language or other forms of representation stand in a relationship to the objects that they represent, and this relationship is analogous to the relationship that subsists between pictures and objects† (Biggs 2000: 7). Wittgenstein’s depiction of performance spoke about the ability to â€Å"reconstruct an object from its representation, to reconstruct a thought from a sentence, etc.† (Biggs 20 00: 4). It is important to emphasize here that â€Å"what a picture means is independent of whether it is a truthful representation or not† (Jago 2006: 1). What is more important is the idea â€Å"that the lines in the diagram are related together in a way that mimics the way the things they correspond to are related† (Jago 2006: 1). In this way, he made the distinction between showing and saying (Mandik 2003: 1). It is important that pictures showed something instead of said something, doing this through grammar, form, or logic within the human and natural languages (Hauptli 2006: 3). Instead of simply trying to interpret what the world appears to look like, Wittgenstein took it to the next level by trying to â€Å"operate within the model and draw conclusions about properties in the world† (Biggs 2000: 3). Labelled the â€Å"theory of description, he elucidates logically the essential situation when the languages describe the reality† (Actus 2007: 3). This is where the â€Å"thing is whether it keeps a proper (right) relation to the reality (Actus 2007: 3). This involved actual mathematical calculations rather than simple depictions and moved the person toward â€Å"graphical statics and dynamic models† (Biggs 2000: 3). In carrying this thought process over into the world of language, Wittgenstein then believed that a method could be constructed that enabled decisions related to ethical matters and other intangible ideals (Biggs 2000: 3). Overall, Wittgenstein was looking to achieve â€Å"a perfect language† (Biggs 2000: 6). His theory of language says that â€Å"sentence work like pictures: their purpose is also to picture possible situations† (Jago 2006: 2). His philosophy was not concerned with mental pictures that come from language but relied on â€Å"a more abstract notion of a picture, as something that either agrees or disagrees with any way the world might have been, and which says, this is the way things actually are† (Jago 2006: 2). In other words, â€Å"For sentences to have sense, they can not depend exclusively on the sense of other sentences – ultimately there must be elementary propositions which get their sense not from other sentences, but rather direct ly from the world† (Hauptli 2006: 3). To Wittgenstein, the world is comprised of â€Å"simples, which are named by certain words† that are put into a certain number of combinations that create reality (Hauptli 2006: 3). This other viewpoint on Wittgenstein’s picture theory has become known as the â€Å"form-of-life,† which was about the â€Å"general relationship of notation and conceivability† (Biggs 2000: 7). This invoked the idea that Wittgenstein proposed that humans try to â€Å"live from the nature of the world† rather than just imitating or depicting it (Biggs 2000: 7). This would allow humans to â€Å"understand the reality of life† which is currently unexplainable because it is hard to see directly (Actus 2007: 3). Going back to the original simplified idea about the theory, language then becomes a way for humans to get in touch and experience the true reality of life and nature. It is this idea of being connected to nature on another level that suggests that Wittgenstein’s picture theory also included his ideas about and interest in the metaphysical. In fact, Albert Levi concluded that the Tractatus represented â€Å"a picture of traditional metaphysical dualism (Cashell 2005: 3). This is evident in his metaphor of the eye in which â€Å"it can see only that which his other than itself† as he says that â€Å"from nothing in the field of sight can it be concluded that it is seem from an eye† (Mandik 2003: 7). In connection to metaphysical beliefs, Wittgenstein â€Å"took language, logic, world and self to be coextensive† and concluded the Tractatus by stating that anyone will truly understand the world once they move beyond his limited suggestions about the world (Mandik 2003: 8-9). His comments here at the end of Tractatus emphasised his belief that â€Å"all philosophical reflection is meaningless† (Jago 2006: 4). Wittgenstein illustrated the difference between that meaninglessness and what he was attempting to do in this book by showing his readers things instead of attempting to draw conclusions for them (Jago 2006: 4). In this way, his book concludes with his interest in the mystic and metaphysical, taking the reader on a journey through his thoughts and creating pictures through the language he uses within the book to show instead of tell. References Actus. (2007). Wittgenstein and his picture theory. Available at: http://www.actus.org/witt.html. Biggs, M.A.R. (2000). Visualisation and Wittgenstein’s â€Å"Tractatus.† Faculty of Art and Design, University of Hertfordshire, 1-9. Cashell, K. (2005). Attempt to understand Wittgenstein’s picture theory of the proposition. Available at: http://www.ul.ie/~philos/vol2/cashell.html. Hauptli, B. W. (2006). Hauptli’s introduction to the Tractatus. Available at: http://www.fiu.edu/~hauptili/IntroductiontoWittgenstein’sTractatus.html. Jago, M. (2006). Pictures and nonsense. Philosophy Now. Available at: http://www.philosophynow.org/issue58/58jago.htm. Mandik, P. (2003). Picturing, showing, and solipsism in Wittgenstein’s Tractatus Logico-Philosophicus. Available at: http://www.petemandik.com/philosophy/papers/witt.html.

Macbeths Ambition :: essays research papers

Macbeth’s Ambition Political ambition undermines man’s loyalty. In the play, Macbeth decides to kill his king because of his ambition for position. At the beginning of the play, he portrays himself as a noble person. He fights in the battle against Norway and proves his loyalty; however, as soon as the witches prophesize that Macbeth “shall be king hereafter'; (1.3.53), he is not longer trustworthy. Ambition for power starts creeping into his head. After Macbeth’s internal conflict over whether or not to kill Duncan, he decides to do it quickly (1.7.3) in order to hasten the predictions. He decides to kill the king because he wants to extend his power all over the country by becoming the new monarch. He desires to be more wealthy and respected by the nobility as well as by the common people. Becoming king represents the highest rang in the political pyramid. The act of murdering is the only way to make his dreams come true because Duncan’s fair and prosperous rule over Scotland experience the support of the whole population. As Malcom and Donalbain fly to England, he automatically takes possession of the throne. Macbeth displays political ambition first of all because of his wife. After she reads her husband’s letter about his meeting with the witches, she suggests for Macbeth to kill Duncan so she could be queen. At the beginning Macbeth hesitates to talk about such a thing and even lists the reason not to kill: he is his king, his uncle and his guest. Not completely sure about it and victim of his own desires for power he finally accepts Lady Macbeth’s plan for murdering the ruler of Scotland. This decision portrays Macbeth’s dirty morality and easily manageable personality. Macbeth’s character is a clear example of how ambition corrupts man’s personality. After a brief period of hesitation, he finally decides to take the infamous way of murder in order to make his political desires come true. His ambition, stronger than the moral and social condemnation of killing, becomes his sole motive. The American philosopher David Young goes further in this analysis and sees in Macbeth how “the act of regicide is a ready means of illustrating the genesis of tragic structure in struggles for power'; (Young 318).

Imran Khan-Leadership Analysis

Imran Khan as a Political Leader The journey of our leader has never stopped and after successful completion of two goals, he involved in Politics and founded â€Å"Pakistan Tehreek-e-Insaf† in 1996. Though his party could not secure even a single seat in the first election (1997) since their inception, however he later managed to win the election (2002) and got membership in National Assembly of Pakistan.He was not a popular choice in this field until 2009, but his consistent attitude towards achievement of a set goal has now brought him to the position where he is the most preferred individual leader and his party now enjoys the top position in Pakistan with 31% support of the people as revealed in latest surveys by IRI. Since Imran Khan has stepped into this field after emergence of new paradigm, therefore his leadership journey has been evaluated on the same. Change and Crisis ManagementThe political history of Pakistan has not a good repute amongst democratic thinkers.Mil itary and politics have so far been playing musical chair with the power position in the country. The latest Military rule ended just 4 years ago when the fifth military dictator General Pervez Musharraf was forced to step down after 9 years of stay in power. Dictatorship is no more fruitful in any country in today’s world and Pakistan is no exception to it. The country has undoubtedly suffered a lot in terms of isolation in the world during military era. Imran Khan has been long demanding the limited interference of military in the politics.The forced removal of the Chief Justice of Pakistan from his post by General Musharraf created a political turmoil in the country. Imran Khan was the first one who stood up and raised the voice for the protection of the judiciary in the country and mobilized the local masses which forced the dictator to change his decision and eventually he had to move out of the office as well. So far, he has been to pass this one factor of the new leade rship paradigm, however he will be further tested when he reaches the top position in near future.Diversity and CollaborationPakistan is located in a region which is focus of the world at the moment. All major powers and players have their vested interests on stake in this region. The situation in Afghanistan, worlds’ perception about Iran, conflicting interests of China, USA and India basically aim to gain control over this area. This demands a highly diverse and collaborating nature leadership in the country. The political views and philosophy of Imran Khan aligns with these requirements.His stance about negotiations with India to resolve all disputes, a respectful departure of the foreign troops from Afghanistan and close partnership with China addresses the most of the problems of the country. Higher Purpose and Humility Justice, accountability of corrupt leaders and poverty elevation have been the principle stance of Imran Khan since the day he landed in the politics. Pa kistan is one of the most resourceful country in the world. Pakistan has world’s second largest coal reservoir which can produce oil more than the entire gulf region for next 50 years.The world’s seventh largest copper and gold reservoir and the future Dubai (Gawadar port) also exist in Pakistan. Even then, the country suffers from the poverty and this is due to only one reason that ‘there has never been an honest leadership after the death of her founder’. The best unfortunate example is that even the sitting President and Prime Minister, both have been convicted of civil and criminal crimes in the past. Imran Khan is considered to be the most honest political leader in the country at the moment.Furthermore, his aim to ensure justice and accountability has risen him to this level where he is now been deliberated as a future Prime Minister of the country. References Shaikh, S, Kakepoto, H, & Memon, A 2010, ‘ROLE OF SPORTS IN LEADERSHIP: A SOCIO POLIT ICAL ANALYSIS', Shield: Research Journal Of Physical Education & Sports Science, 5, pp. 108-119, SPORTDiscus with Full Text, EBSCOhost, viewed 10 May 2012. ——————————————– [ 1 ]. ‘PTI Leads Amongst Political Parties’ viewed on 08 May 2012, at , http://www. thenewstribe. com/2012/05/05/pti-leads-among-pakistan-political-parties-iri-poll/#. T6uc_cVj6a0