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William Shakespeare (1564-1616)

āĻœā§€āĻŦāύāĻ•āĻžāϞ

Birth: 26 April, 1564 AD. āχāĻ‚āĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻ“ā§ŸāĻžāĻ°ā§āĻ•āĻļāĻžā§ŸāĻžāϰ⧇āϰ āĻ…āĻ°ā§āĻ—āϤ āĻ¸ā§āĻŸā§āϝāĻžāϟāĻĢā§‹āĻ°ā§āĻĄ āφāĻĒāύ āĻ…ā§āϝāĻžāĻ­āύ āύāĻžāĻŽāĻ• āĻ¸ā§āĻĨāĻžāύ⧇āĨ¤

Death: 23 April, 1616 AD. āϜāύāĻ¨ā§āĻŽāĻ¸ā§āĻĨāĻžāύ⧇āχ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻŦāϰāĻŖ āĻ•āϰ⧇āύāĨ¤

āĻĒāϰāĻŋāϚāĻŋāϤāĻŋāχāĻ‚āĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻļā§āϰ⧇āĻˇā§āĻ  āϏāĻžāĻšāĻŋāĻ¤ā§āϝāĻŋāĻ•āĨ¤ Shakespeare is known mostly for his plays/ dramas. He is a famous sixteenth Century English playwright. Shakespear lived during the reign of Elizabeth 1.

āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āĻ—ā§āϰāĻ¨ā§āĻĨ

(Plays/Dramas: 37. in number)

āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋ (Tragedies):

  • Julius Caesar: Brutus (Marcus Brutus) is a famous character (protangonits) of Shakespeare in his 'Julius Caesar' (Tragedy)
  • Romeo and Juliet
  • Hamlet: Ophelia' is an important character. The view is expressed that 'There is a divinity that shapes our ends'
  • Macbeth
  • King Lear
  • Othello
  • Antony and Cleopatra

āĻ•āĻŽā§‡āĻĄāĻŋ āύāĻžāϟāĻ• (Comedies):

  • The Tempest (William Shakespeare āϰāϚāĻŋāϤ āĻĒā§āϰāĻĨāĻŽ āύāĻžāϟāĻ•)
  • As You Like It
  • The Mid Summer Night's Dream
  • All's Well That Ends Well
  • The Comedy of Errors
  • The Merchant of Venice
  • The Taming of the Shrew
  • Measure of measure
  • Love's Labour's Lost
  • Antony and Cleopatra
  • Twelfth night (comedy)
  • Winter's Tale (play)
Important Quotations
  • Cowards die many times before their death (Julius Caesar)
  • "To be or not to be, that is the question." (Hamlet)
  • Frailty, Thy name is woman. (Hamlet)
  • "There are more things in heaven and earth, Horatio, Than are dreamt of in our philosophy" (Hamlet)
  • 'All the perfumes of Arabia will not sweeten this little hand' (Macbeth)
  • "All the world's a stage and all the men and women merely players" (As you like it)
  • All the world's stage,
    And all the men and Women merely players
    The have their exits and their entrance
    And each man in his time plays many parts
    His act being seven ages' (As you Like it)
  • Blow, blow thou winter wind
    Thou art not so unkind
    As mans ingratitude;
    Thy tooth is not so keen
    Because thou art not seen
    Although thy breath be rude"
    (As you Like it)

A Shakespearean play consists of five acts.

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āĻāϞāĻŋāϜāĻžāĻŦ⧇āĻĨ⧇āϰ āϝ⧁āĻ—āϕ⧇ (ā§§ā§Ģā§Ģā§Ļ-ā§§ā§Ŧ⧍ā§Ļ āĻ–ā§āϰ⧀:) āĻŦāϞāĻž āĻšā§Ÿ āϰ⧇āύ⧇āϏāĻžāρ āĻŦāĻž āύāĻŦāϜāĻžāĻ—āϰāϪ⧇āϰ āϝ⧁āĻ—āĨ¤ āĻāχ āϝ⧁āϗ⧇āϰ āĻĻ⧁āϟāĻŋ āωāĻœā§āĻœā§āĻŦāϞ āύāĻ•ā§āώāĻ¤ā§āϰ-āĻ•āĻžāĻŦā§āϝ⧇ āĻ¸ā§āĻĒ⧇āĻ¨ā§āϏāϰ (Spenser) āĻāĻŦāĻ‚ āύāĻžāϟāϕ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āĻžāϰāĨ¤ āύāĻžāϟāĻ• āĻ›āĻžā§œāĻžāĻ“ āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āĻžāϰ āϝ⧇ āϏāĻŦ āĻ•āĻžāĻŦā§āϝ- āĻ•āĻŦāĻŋāϤāĻž āϞāĻŋāϖ⧇āĻ›āĻŋāϞ⧇āύ āϤāĻžāρāϰ āĻŽāĻ§ā§āϝ⧇ āφāϛ⧇ āĻĻ⧁'āĻ–āĻžāύāĻŋ āφāĻ–ā§āϝāĻžāύ āĻ•āĻžāĻŦā§āϝ- 'āϭ⧇āύāĻžāϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ…ā§āϝāĻžāĻĄā§‹āύāĻŋāϏ' (Venus and Adonis) āĻāĻŦāĻ‚ 'āĻĻā§āϝ āϰ⧇āĻĒ āĻ…āĻŦā§ āϞ⧁āĻ•ā§āϰāĻŋāϏ' (The Rape of Lucrece)āĨ¤ āφāϰ āĻ°ā§Ÿā§‡āϛ⧇ ā§§ā§Ģā§Ē āϟāĻŋ āϚāϤ⧁āĻ°ā§āĻĻāĻļāĻĒāĻĻā§€ āĻ•āĻŦāĻŋāϤāĻž āĻŦāĻž āϏāύ⧇āϟāĨ¤ āĻāϰ āĻŽāĻ§ā§āϝ⧇ āĻ•āϤāϗ⧁āϞāĻŋ āϏāύ⧇āϟ āϤāĻžāρāϰ āϕ⧋āύ āĻŦāĻ¨ā§āϧ⧁āϰ āωāĻĻā§āĻĻ⧇āĻļā§āϝ⧇, āφāϰ āĻ•āϤāĻ•āϗ⧁āϞāĻŋ āĻĒā§āϰ⧇āĻŽ āĻ•āĻŦāĻŋāϤāĻž āϕ⧋āύ āύāĻžāϰ⧀āϰ āωāĻĻā§āĻĻ⧇āĻļā§āϝ⧇ āϰāϚāĻŋāϤāĨ¤

āϤāĻžāρāϰ āύāĻžāĻŸā§āϝāĻœā§€āĻŦāύ āĻļ⧁āϰ⧁ āĻšā§Ÿā§‡āϛ⧇ āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āύāĻžāϟāĻ• āĻĻāĻŋā§Ÿā§‡āĨ¤ āĻāϰ āϏāĻ™ā§āϗ⧇ āĻ°ā§Ÿā§‡āϛ⧇ āϰ⧋āĻŽāĻžāĻ¨ā§āϏāϧāĻ°ā§āĻŽā§€ āύāĻžāϟāĻ•āĨ¤ āĻāχ āύāĻžāϟāĻ•āϗ⧁āϞāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ āωāĻ˛ā§āϞ⧇āĻ–ā§āϝ āύāĻžāϟāĻ•āϗ⧁āϞāĻŋ āĻšāĻšā§āϛ⧇ 'āĻšā§‡āύāϰāĻŋ āĻĻā§āϝ āϏāĻŋāĻ•ā§āϏāĻĨ' (Henry VI) [āϤāĻŋāύāĻ–āĻ¨ā§āĻĄā§‡ āϰāϚāĻŋāϤ], 'āϰāĻŋāϚāĻžāĻ°ā§āĻĄ āĻĻā§āϝ āĻĨāĻžāĻ°ā§āĻĄ' (Richard III), 'āϰāĻŋāϚāĻžāĻ°ā§āĻĄ āĻĻā§āϝ āϟ⧁' (Richard II), 'āĻ•āĻŋāĻ‚ āϜāύ' (King John) 'āϞāĻžāĻ­āĻ¸ā§ āϞ⧇āĻŦāĻžāϰāĻ¸ā§ āϞāĻ¸ā§āϟ' (Love's Labour's Lost), 'āĻĻā§āϝ āĻ•āĻŽā§‡āĻĄāĻŋ āĻ…āĻŦ āĻāϰāϰ⧂āĻ•ā§āϏ' (The Comedy of Errors), 'āϰ⧋āĻŽāĻŋāĻ“ āĻāĻ¨ā§āĻĄ āϜ⧁āϞāĻŋā§Ÿā§‡āϟ' 'Romeo and Juliet), 'āĻĻā§āϝ āĻŽāĻžāĻ°ā§āĻšā§‡āĻ¨ā§āϟ āĻ…āĻŦ āϭ⧇āύāĻŋāϏ; (The Merchant of Venice), 'āĻŽāĻŋāĻ¸ā§āϏāĻžāĻŽāĻžāϰ āύāĻžāχāϟāĻ¸ā§ āĻĄā§āϰāĻŋāĻŽ' (A Mid Summer-Night's Dream) 'āĻĻā§āϝ āĻŸā§‡āĻŽāĻŋāĻ‚ āĻ…āĻŦ āĻĻā§āϝ āĻļā§āϰ⧁' (The Taming of the Shrew) āĻĒā§āϰāϭ⧃āϤāĻŋāĨ¤

āĻĻā§āĻŦāĻŋāĻ¤ā§€ā§Ÿ āĻĒāĻ°ā§āĻŦ (ā§§ā§Ģ⧝⧭-ā§§ā§Ŧā§Ļā§ĻāĻ–ā§āϰ⧀:) āĻšāĻšā§āϛ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āĻžāϰ⧇āϰ āϰāϚāύāĻžāĻļāĻ•ā§āϤāĻŋāϰ āĻŦāĻŋāĻ•āĻžāĻļ āĻĒāĻ°ā§āĻŦāĨ¤ āĻāχ āĻĒāĻ°ā§āĻŦ⧇ āϰāϚāĻŋāϤ āύāĻžāϟāϕ⧇āϰ āϏāĻ‚āĻ–ā§āϝāĻž āφāϟāĨ¤ āĻāχ āϏāĻŽā§Ÿā§‡āϰ āωāĻ˛ā§āϞ⧇āĻ–ā§āϝ āύāĻžāϟāϕ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻĻ⧁āχ āĻ–āĻ¨ā§āĻĄā§‡ āϰāϚāĻŋāϤ 'āĻšā§‡āύāϰ⧀ āĻĻā§āϝ āĻĢā§‹āĻ°ā§āĻĨ' (Henry IV-Part I & Part II), 'āĻšā§‡āύāϰ⧀ āĻĻā§āϝ āĻĢāĻŋ' (Henry V), 'āĻ…ā§āϝāĻžāϜ āχāω āϞāĻžāχāĻ• āχāϟ' (As You Like It), 'āϜ⧁āϞāĻŋ⧟āĻžāϏ āϏāĻŋāϜāĻžāϰ' (Julius Caesar) āχāĻ¤ā§āϝāĻžāĻĻāĻŋ āωāĻ˛ā§āϞ⧇āĻ–ā§āϝāĨ¤

āϤ⧃āĻ¤ā§€ā§Ÿ āĻĒāĻ°ā§āĻŦ (ā§§ā§Ŧā§Ļā§Ļ-ā§§ā§Ŧā§Ļā§Ž āĻ–ā§āϰ⧀:) āĻšāĻšā§āϛ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āĻžāϰ⧇āϰ āĻĒā§āϰāϤāĻŋāĻ­āĻžāϰ āĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻŋāĻ•āĻžāĻļ āĻĒāĻ°ā§āĻŦāĨ¤ āϤāĻŦ⧇ āĻāχ āϏāĻŽā§Ÿā§‡ āϞ⧇āĻ–āĻž āϤāĻžāρāϰ āϏāĻŦ āύāĻžāϟāϕ⧇āχ āĻŦ⧇āĻœā§‡āϛ⧇ āĻĻ⧁āσāϖ⧇āϰ āϏ⧁āϰ, āĻŽāĻžāύāϏāĻŋāĻ•āϤāĻžāϰ āĻĻāĻŋāĻ• āĻĨ⧇āϕ⧇ āĻāĻ•āϟāĻž āĻšāϤāĻžāĻļāĻž āĻ“ āĻŦāĻŋāώāĻžāĻĻāĻŽā§ŸāϤāĻž āϝ⧇āύ āύāĻžāĻŸā§āϝāĻ•āĻžāϰ⧇āϰ āĻŽāύāϕ⧇ āφāĻšā§āĻ›āĻ¨ā§āύ āĻ•āϰ⧇ āĻ›āĻŋāϞāĨ¤ āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āĻžāϰ⧇āϰ āϤāĻĨāĻž āĻŦāĻŋāĻļā§āĻŦāϏāĻžāĻšāĻŋāĻ¤ā§āϝ⧇āϰ āĻļā§āϰ⧇āĻˇā§āĻ  āĻŸā§āĻ°ā§āϝāĻžāĻœā§‡āĻĄāĻŋāϗ⧁āϞāĻŋ āĻāχ āĻĒāĻ°ā§āĻŦ⧇āχ āϞāĻŋāĻ–āĻŋāϤāĨ¤ āĻāχ āĻĒāĻ°ā§āĻŦ⧇ āϰāϚāĻŋāϤ āύāĻžāϟāϕ⧇āϰ āϏāĻ‚āĻ–ā§āϝāĻž āĻĻāĻļāĨ¤ āĻāχ āϏāĻŽā§Ÿā§‡āϰ āύāĻžāϟāĻ•āϗ⧁āϞāĻŋ āĻŽāĻ§ā§āϝ⧇ 'āĻšā§āϝāĻžāĻŽāϞ⧇āϟ' (Hamlet, Prince of Denmark), 'āĻ“āĻĨ⧇āϞ⧋' (Othello), 'āĻ•āĻŋāĻ‚ āϞāĻŋ⧟āĻžāϰ' (King Lear), 'āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ' (Macbeth) āĻāĻŦāĻ‚ 'āĻŸā§ā§Ÿā§‡āϞ āύāĻžāχāϟ' (Twelfth Night or What You Will), 'āϟāĻŋāĻŽāύ āĻ…āĻŦ āĻāĻĨ⧇āĻ¨ā§āϏ' (Timon of Athens), āĻ…ā§āϝāĻžāĻ¨ā§āϟāύāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āϟ āĻ•ā§āϞāĻŋāĻ“āĻĒ⧇āĻŸā§āϰāĻž' (Antony And Cleopatra) āĻĒā§āϰāϭ⧃āϤāĻŋ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝāĨ¤

āϚāϤ⧁āĻ°ā§āĻĨ āĻŦāĻž āĻ…āĻ¤ā§āĻŽāĻĒāĻ°ā§āĻŦ (ā§§ā§Ŧā§Ļā§Ž-⧧⧝⧧⧧ āĻ–ā§āϰ⧀āσ)āĨ¤ āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āĻžāϰ⧇āϰ āĻĒāϰāĻŋāĻŖāϤ āĻĒā§āϰāϤāĻŋāĻ­āĻžāϰ āύāĻŋāĻĻāĻ°ā§āĻļāύ āĻāϝ⧁āϗ⧇āĻ“ āĻĒāϰāĻŋāĻ¸ā§āĻĢ⧁āϟāĨ¤ āĻĻ⧁āσāϖ⧇āϰ āϤ⧀āĻŦā§āϰāϤāĻž āĻāχ āĻĒāĻ°ā§āĻŦ⧇ āĻĒā§āϰāĻļāĻŽāĻŋāϤ āĻāĻŦāĻ‚ āĻļāĻŋāĻ˛ā§āĻĒā§€-āĻšā§ƒāĻĻā§Ÿā§‡āϰ āĻĒā§āϰāĻļāĻžāĻ¨ā§āϤāĻŋāĻ“ āĻāχ āĻ…āĻ‚āĻļ⧇ āϞāĻ•ā§āĻˇā§āϝ āĻ•āϰāĻž āϝāĻžā§ŸāĨ¤ āĻāχ āĻĒāĻ°ā§āĻŦ⧇āϰ āύāĻžāϟāϕ⧇ āύ⧀āϤāĻŋ āĻ“ āφāĻ™ā§āĻ—āĻŋāϕ⧇āĻ“ āĻāϏ⧇āϛ⧇ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύāĨ¤ āĻ āϏāĻŽā§Ÿā§‡āϰ āύāĻžāϟāĻ•āϗ⧁āϞāĻŋāϕ⧇ āĻĒā§āϰāϧāĻžāύāϤ āϰ⧋āĻŽāĻžāĻ¨ā§āϏ āĻŦāϞāĻž āϝāĻžā§ŸāĨ¤ āĻŸā§āĻ°ā§āϝāĻžāĻœā§‡āĻĄāĻŋāϰ āĻĻā§ƒā§āύāĻŋāĻŦāĻĻā§āϧ āĻļāĻŋāĻ˛ā§āĻĒāϰ⧂āĻĒ āĻāχ āĻĒāĻ°ā§āĻŦ⧇āϰ āĻ•āĻžāĻŦā§āϝ⧇ āĻ…āύ⧁āĻĒāĻ¸ā§āĻĨāĻŋāϤāĨ¤ āϤāĻŦ⧇ āĻĄ. āϟāĻŋāϞāĻŋ⧟āĻžāĻ°ā§āĻĄ āĻĒā§āϰāĻŽā§āĻ– āϏāĻŽāĻžāϞ⧋āϚāϕ⧇āϰ āĻŽāϤ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āĻžāϰ⧇āϰ āĻļ⧇āώ āύāĻžāϟāĻ•āϏāĻŽā§‚āĻš āĻĒā§āϰāĻžāĻŖāĻ¸ā§āĻĒāĻ¨ā§āĻĻāύ⧇, āĻ›āĻ¨ā§āĻĻā§‹āĻŦāĻ¨ā§āϧ⧇, āωāĻĒāĻŽāĻžāϰ⧂āĻĒāϕ⧇āϰ āĻ…āĻ­āĻŋāύāĻŦāĻ¤ā§āĻŦ⧇ āĻ“ āĻ•āĻžāĻŦā§āϝāĻŋāĻ• āĻ‰ā§ŽāĻ•āĻ°ā§āώ⧇ āĻ…āĻĒāϰ⧂āĻĒ āĻļāĻŋāĻ˛ā§āĻĒāϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāĻŽāĻŖā§āĻĄāĻŋāϤ āĻšā§Ÿā§‡ āωāϠ⧇āϛ⧇āĨ¤ āĻāχ āĻĒāĻ°ā§āĻŦ⧇ āϰāϚāĻŋāϤ āύāĻžāϟāϕ⧇āϰ āϏāĻ‚āĻ–ā§āϝāĻž āĻĒāĻžāρāϚāĨ¤ āĻāχ āύāĻžāϟāĻ•āϗ⧁āϞāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ 'āĻĻā§āϝ āωāχāĻ¨ā§āϟāĻžāϰāϏ āĻŸā§‡āϞ' (The Winter's Tale), 'āĻĻā§āϝ āĻŸā§‡āĻŽā§āĻĒ⧇āĻˇā§āϟ' (The Tempest) 'āĻ•āĻŋāĻ‚ āĻšā§‡āύāϰ⧀ āĻĻā§āϝ āĻāχāĻŸā§āϏ' (king Henry VIII) āωāĻ˛ā§āϞ⧇āĻ–ā§āϝāĨ¤

āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϤāĻĨā§āϝ :

  1. Shakespeare was born in the year of 1564.
  2. Shakespeare died in the year of 1616, Shakespeare died at the age of 52.
  3. The greatest dramatist of English literature was born and died at the same day on the 23rd April.
  4. He is called the 'Bard of Avon'. (āĻā§āϝāĻ­āύ⧇āϰ āĻ•āĻŦāĻŋ/ Bard) / King without crown (āĻŽā§āϕ⧁āϟāĻŦāĻŋāĻšā§€āύ āϏāĻŽā§āϰāĻžāϟ).
  5. Plays-37 (25 before the death of Elizabeth); Sonnets---154; Narrative Poems--3.{āϤ⧇āχāĻļ āĻŦāĻ›āϰ āϧāϰ⧇ āĻŽā§‹āϟ ā§Šā§­āϟāĻŋ āύāĻžāϟāĻ• āϰāϚāύāĻž āĻ•āϰ⧇āϛ⧇āύ āĻļ⧇āĻ•ā§āϏāĻĒā§€ā§ŸāĻžāϰāĨ¤ āϤāĻž āĻ›āĻžā§œāĻžāĻ“ āϰāϚāύāĻž āĻ•āϰ⧇āϛ⧇āύ āϤāĻŋāύāϟāĻŋ āĻ•āĻžāĻŦā§āϝ āĻāĻŦāĻ‚ ā§§ā§Ģā§ĒāϟāĻŋ āϏāύ⧇āϟāĨ¤ āĻ…āĻ°ā§āĻĨāĻžā§Ž āύāĻžāϟāĻ• āϰāϚāύāĻžāϰ āĻĢāĻžāρāϕ⧇ āĻĢāĻžāρāϕ⧇ āϚāϞ⧇āϛ⧇ āϏāύ⧇āϟ āϰāϚāύāĻžāĨ¤}
  6. Shakespeare is known mostly for his plays.
  7. 'The Tempest' is known as Shakespeare's Swan Song or last work. . Tempest āĻ…āĻ°ā§āĻĨ: Violent storm/ āĻĻ⧁āϰāĻ¨ā§āϤ āĻā§œāĨ¤
  8. Shakespeare lived during the reign of Queen Elizabeth I. (āϤāĻŋāύāĻŋ Jacobean Period āĻ āĻ…āύ⧇āĻ• āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āύāĻžāϟāĻ• āϞāĻŋāĻ–āϞ⧇āĻ“ āϤāĻžāϕ⧇ Elizabethan period āĻāϰ āύāĻžāĻŸā§āϝāĻ•āĻžāϰāχ āĻŦāϞāĻž āĻšā§ŸāĨ¤)
  9. He is called the national poet of England.
  10. He belongs to Elizabethan period.
  11. He belongs to 16th century.
  12. Shakespeare āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āϰāϚāύāĻž āĻ•āϰ⧇āϛ⧇āύ āĻĒā§āϰāĻžā§Ÿ ⧍ā§Ŧ āĻŦāĻ›āϰ āĻĒāϰ⧇ (ā§§ā§Ģ⧝ā§Ļ-ā§§ā§Ŧā§§ā§Ŧ)

Shakespeare's First, Last, Longest and Shortest play

  1. 1st Play: Henry VI [Part-2]2. Last Play: The Tempest (Swan Song)
  2. Shortest Play: Comedy of Errors [1787 lines, 14701 words]
  3. Longest Play: Hamlet [4042 lines, 30557 words]

Important Questions from plays and poems

  1. His plays have 5 acts.
  2. 'Comedy of Errors' āĻāϰ āĻŦāĻžāĻ‚āϞāĻž āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰ⧇āϛ⧇āύ āψāĻļā§āĻŦāϰāϚāĻ¨ā§āĻĻā§āϰ āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ 'āĻ­ā§āϰāĻžāĻ¨ā§āϤāĻŋāĻŦāĻŋāϞāĻžāϏ' āύāĻžāĻŽā§‡āĨ¤
  3. 'The Taming of the Shrew' āĻāχ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āύāĻžāϟāĻ•āϟāĻŋāϰ āĻŦāĻžāĻ‚āϞāĻž āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰ⧇āϛ⧇āύ āĻŽā§āύ⧀āϰ āϚ⧌āϧ⧁āϰ⧀ 'āĻŽā§āĻ–āϰāĻž āϰāĻŽāĻŖā§€ āĻŦāĻļā§€āĻ•āϰāĻŖ' āύāĻžāĻŽā§‡āĨ¤
  4. 'The Taming of the Shrew' āύāĻžāϟāϕ⧇ Shrew (āĻŦāĻĻāĻŽā§‡āϜāĻžāϜāĻŋ) āĻŽā§‡ā§Ÿā§‡āϟāĻŋ āĻ›āĻŋāϞ [Katherine] āĻ•ā§āϝāĻžāĻĨāϰāĻŋāύāĨ¤
  5. 'Othello' (āĻ“āĻĨ⧇āϞ⧋) āύāĻžāϟāϕ⧇ Desdemona āĻĒāĻžāϞāĻŋā§Ÿā§‡ āĻ“āĻĨ⧇āϞ⧋āϕ⧇ āĻŦāĻŋā§Ÿā§‡ āĻ•āϰ⧇ āĻāĻŦāĻ‚ Othello āĻĻ⧇āϏāĻĻāĻŋāĻŽāύāĻžāϕ⧇ āĻāĻ•āϟāĻŋ āϰ⧁āĻŽāĻžāϞ āωāĻĒāĻšāĻžāϰ āĻĻā§‡ā§Ÿ
  6. 'Othello' (āĻ“āĻĨ⧇āϞ⧋) āύāĻžāϟāϕ⧇ āĻ“āĻĨ⧇āϞ⧋ āĻ›āĻŋāϞ āĻāĻ•āϜāύ Moor.
  7. William Shakespeare āĻāϰ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āĻĻ⧁āχāϟāĻŋ āύāĻžāϟāĻ• (Comedy) āĻšāϞ⧋ 'The Tempest' and 'The Mid Summer Night's Dream'
  8. Julius Caesar was the ruler of Rome about 2000 years ago.
  9. āϧāĻžāϰāĻŖāĻž āĻ•āϰāĻž āĻšā§Ÿ Shakespeare āϤāĻžāϰ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ 'Merchant of Venice' āύāĻžāϟāĻ•āϟāĻŋ Christopher Marlowe āĻāϰ 'The Jew (āĻœā§āϝ⧁) of Malta' (Jew āχāĻšā§āĻĻāĻŋ) āύāĻžāϟāĻ• āĻ…āύ⧁āĻ•āϰāϪ⧇ āϞāĻŋāϖ⧇āϛ⧇āύāĨ¤ Shakespeare āĻāϰ āĻāχ āύāĻžāϟāϕ⧇ Shylock āύāĻžāĻŽā§‡āϰ āĻāĻ•āϜāύ āχāĻšā§āĻĻāĻŋāϰ āĻ•āĻžāĻšāĻŋāύāĻŋ āĻŦāĻ°ā§āĻŖāύāĻž āĻ•āϰāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤
  10. āϧāĻžāϰāĻŖāĻž āĻ•āϰāĻž āĻšā§Ÿ Shakespeare āϤāĻžāϰ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ 'Hamlet' āύāĻžāϟāĻ•āϟāĻŋ Thomas Kyd āĻāϰ 'The Spanish Tragedy' āύāĻžāϟāĻ• āĻ…āύ⧁āĻ•āϰāϪ⧇ āϞāĻŋāϖ⧇āϛ⧇āύāĨ¤
  11. The play 'Romeo and Juliet' was written by - William Shakespeare.
  12. The central idea of 'Under the greenwood tree' is that life in nature is simple and free.
  13. In 'Under the greenwood Tree' the 'Tree' refers to - forest.
  14. Calliban is a character in - Tempest.
  15. Shakespeare composed much of his plays in the form of poetry, often in a meter called Iambic pentameter. (āĻĒāĻžā§āϚ āĻ¸ā§āĻŦāϰāĻžāϘāĻžāϤāĻŦāĻŋāĻļāĻŋāĻˇā§āϟ āĻĻāĻļāĻŽāĻžāĻ¤ā§āϰāĻŋāĻ• āĻ•āĻžāĻŦā§āϝāĻŋāĻ• āϚāϰāĻŖāĻŦāĻŋāĻļāĻŋāĻˇā§āϟāĨ¤ āωāχāϞāĻŋ⧟āĻžāĻŽ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋ⧟āĻžāϰ āϤāĻžāϰ āĻ…āϧāĻŋāĻ•āĻžāĻ‚āĻļ āύāĻžāϟāĻ• āĻĻāĻļāĻŽāĻžāĻ¤ā§āϰāĻŋāĻ• āϚāϰāĻŖāĻŦāĻŋāĻļāĻŋāĻˇā§āϟ āĻ•āĻŦāĻŋāϤāĻž āφāĻ•āĻžāϰ⧇ āϰāϚāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ So there are five lambs in a line of Iambic pentameter. Blank verse is unrhymed Iambic pentameter.
    Here are two examples from Shakespeare's Romeo and Juliet. ('bold' means stressed and 'italics' means unstressed) My grave is like to be my wedding bed. But soft, what light through yonder window breaks?
  16. 'King Lear' āύāĻžāϟāϕ⧇ 'King Lear' āĻāϰ āϤāĻŋāύ āĻŽā§‡ā§Ÿā§‡āϰ āύāĻžāĻŽ Goneril (āĻ—āύ⧇āϰāĻŋāϞ), Regan (āϰāĻŋāĻ—āĻžāύ), Cordelia (āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻž).
  17. 'Romeo and Juliet' āύāĻžāϟāϕ⧇ āĻĻ⧁āϟāĻŋ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āύāĻžāĻŽ āĻšāĻšā§āϛ⧇ Montego (āĻŽāĻ¨ā§āĻŸā§‡āϗ⧁) āĻāĻŦāĻ‚ Capulet (āĻ•ā§āϝāĻžāĻĒāĻŋāωāϞ⧇āϟ).

āĻļ⧇āĻ•āϏāĻĒāĻŋ⧟āϰ⧇āϰ ā§Šā§­ āϟāĻŋ āύāĻžāϟāĻ•āϕ⧇ ā§ŠāϟāĻŋ āĻ­āĻžāϗ⧇ āĻ­āĻžāĻ— āĻ•āϰāĻž āϝāĻžā§Ÿ

  • āĻ•āĻŽā§‡āĻĄāĻŋ/āĻšāĻžāĻ¸ā§āϝāϰāϏāĻžāĻ¤ā§āĻŦāĻ•
  • āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋ-āĻŦāĻŋā§Ÿā§‹āĻ—āĻžāĻ¨ā§āϤāĻ•
  • āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• - (āĻŦā§āϝāĻ•ā§āϤāĻŋ āϕ⧇āĻ¨ā§āĻĻā§āϰāĻŋāĻ•)

Tragedy:

  1. Macbeth (āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ)
  2. Hamlet (āĻšā§āϝāĻžāĻŽāϞ⧇āϟ)
  3. Othello (āĻ“āĻĨ⧇āϞ⧋) (A moor-35th BCS) (Desdemona āĻĒāĻžāϞāĻŋā§Ÿā§‡ āĻ“āĻĨ⧇āϞ⧋āϕ⧇ āĻŦāĻŋā§Ÿā§‡ āĻ•āϰ⧇ āĻāĻŦāĻ‚ Othello āĻĻ⧇āϏāĻĄāĻŋāĻŽāύāĻžāϕ⧇ āĻāĻ•āϟāĻŋ āϰ⧁āĻŽāĻžāϞ āωāĻĒāĻšāĻžāϰ āĻĻā§‡ā§Ÿ [37th BCS]
  4. King Lear (āĻ•āĻŋāĻ‚ āϞāĻŋ⧟āĻžāϰ)
  5. Julius Caesar (āϜ⧁āϞāĻŋ⧟āĻžāϏ āϏāĻŋāϜāĻžāϰ)
  6. Titus Andronicus (āϟāĻžāχāϟāĻžāϏ āĻāĻ¨ā§āĻĄā§āϰ⧋āύāĻŋāĻ•āĻžāϏ)
  7. Troilus and Cressida āĻŸā§āĻ°ā§‡ā§ŸāϞāĻžāϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ•ā§āϰ⧇āϏāĻŋāĻĄāĻž)
  8. Romeo and Juliet (āϰ⧋āĻŽāĻŋāĻ“ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϜ⧁āϞāĻŋā§Ÿā§‡āϟ)
  9. Coriolanus (āϕ⧋āϰāĻŋāĻ“āϞ⧇āύāĻžāϏ)
  10. Antony and Cleopatra (āĻ…ā§āϝāĻžāĻ¨ā§āϟāύāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ•ā§āϞāĻŋāĻ“āĻĒ⧇āĻŸā§āϰāĻž)
  11. Cymbeline (āϏāĻŋāĻŽā§āĻŦ⧇āϞāĻŋāύ)
  12. Timon of Athens ('āϟāĻŋāĻŽāύ āĻ…āĻŦ āĻāĻĨ⧇āĻ¨ā§āϏ')

āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋ āĻŽāύ⧇ āϰāĻžāĻ–āĻžāϰ āĻ•ā§ŒāĻļāϞ: āĻ…āϧāĻŋāĻ•āĻžāĻ‚āĻļ āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋāϗ⧁āϞ⧋āχ āϏāϰāĻžāϏāϰāĻŋ āĻŦā§āϝāĻ•ā§āϤāĻŋāϰ āύāĻžāĻŽ āφāϛ⧇ āϤāĻžāχ āύāĻžāĻŽāϗ⧁āϞ⧋ āĻŽāĻžāύ⧁āώ āĻšāĻŋāϏ⧇āĻŦ⧇ āϚāĻŋāĻ¨ā§āϤāĻž āĻ•āϰ⧁āύāĨ¤

āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋ āĻŽāύ⧇ āϰāĻžāĻ–āĻžāϰ āĻ•ā§ŒāĻļāϞ: Caesar--- Antony, Titus, Troilus āϕ⧇ ROM āĻāϰ King Ham āĻāϰ āĻ•āĻžāϛ⧇ āύāĻŋā§Ÿā§‡ āϗ⧇āϞāĨ¤

  1. Caesar =Julius Caesar (āϜ⧁āϞāĻŋ⧟āĻžāϏ āϏāĻŋāϜāĻžāϰ)
  2. Antony =Antony and Cleopatra (āĻ…ā§āϝāĻžāĻ¨ā§āϟāύāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ•ā§āϞāĻŋāĻ“āĻĒ⧇āĻŸā§āϰāĻž)
  3. Titus = Titus Andronicus
  4. Troilus = Troilus and Cressida
  5. R = Romeo and Juliet
  6. O Othello
  7. M = Macbeth
  8. King = King Lear
  9. Ham = Hamlet

Comedy: Famous Comedies are-

  1. All's Well That Ends Well (āĻ…āϞ'āϏ āĻ…ā§Ÿā§‡āϞ āĻĻā§āϝāĻžāϟ āĻāĻ¨ā§āĻĄāϏ āĻ“ā§Ÿā§‡āϞ)
  2. As You Like It ('āĻ…ā§āϝāĻžāϜ āχāω āϞāĻžāχāĻ• āχāϟ') {āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻŦāĻŋāώ⧟ āύāĻŋā§Ÿā§‡ āϰāϚāĻŋāϤ āĻāĻ•āϟāĻŋ āύāĻžāϟāĻ• āĻšāϞ⧋ "āĻ…ā§āϝāĻžāϜ āχāω āϞāĻžāχāĻ• āχāϟ'- 'āϝ⧇āĻŽāύ āϤ⧋āĻŽāĻžāϰ āĻĒāĻ›āĻ¨ā§āĻĻ' āĻāχ āύāĻžāϟāϕ⧇ āĻ…āϰāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‹ āĻāĻŦāĻ‚ āϰ⧋āϜāĻžāĻ˛ā§āϞāĻŋ āĻāϰ āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻ•āĻžāĻšāĻŋāύ⧀ āύāĻžāύāĻž āĻŦ⧈āϚāĻŋāĻ¤ā§āĻ°ā§āϝāĻŽā§Ÿ āϘāϟāύāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϰ⧂āĻĒāϞāĻžāĻ­ āĻ•āϰ⧇āϛ⧇āĨ¤}
  3. A Mid Summer Night's Dream ('āĻŽāĻŋāĻĄāϏāĻžāĻŽāĻžāϰ āύāĻžāχāϟāĻ¸ā§ āĻĄā§āϰāĻŋāĻŽ')
    {āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻŦāĻŋāώ⧟ āύāĻŋā§Ÿā§‡ āϰāϚāĻŋāϤ āφāϰ āĻāĻ•āϟāĻŋ āύāĻžāϟāĻ• āĻšāϞ⧋ "āĻŽāĻŋāĻĄ āϏāĻžāĻŽāĻžāϰ āύāĻžāχāϟāĻ¸ā§ āĻĄā§āϰāĻŋāĻŽ"-āĻŽāĻ§ā§āϝ āĻŦāϏāĻ¨ā§āϤ⧇āϰ āύ⧈āĻļ āĻ¸ā§āĻŦāĻĒā§āύāĨ¤ āĻāĻ–āĻžāύ⧇ āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻŦāĻŋāώ⧟āϟāĻŋāϕ⧇ āύāĻžāĻŸā§āϝāĻ•āĻžāϰ āϝ⧇āĻ­āĻžāĻŦ⧇ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻŋāϤ āĻ•āϰ⧇āϛ⧇āύ āϤāĻž āĻšāϞ⧋ āĻĒā§āϰ⧇āĻŽāĻŽāĻ¸ā§āϤāĻŋāĻˇā§āϕ⧇āϰ āĻāĻ•āϧāϰāϪ⧇āϰ āωāĻŽā§āĻŽāĻžāĻĻ āĻŦā§āϝāĻžāĻĒāĻžāϰ, āĻœā§€āĻŦāύ⧇āϰ āĻāĻ•āϟāĻž āĻŦāĻŋāϰāĻ•ā§āϤāĻŋāĻ•āϰ āĻŦāĻ¸ā§āϤ⧁, āĻĒā§āϰ⧇āĻŽāĻŋāĻ•- āĻĒā§āϰ⧇āĻŽāĻŋāĻ•āĻžāĻĻ⧇āϰ āĻāĻ•āϟāĻž āωāĻĻā§āĻĻāĻžāĻŽ āĻ–ā§‡ā§ŸāĻžāϞ⧀āĻĒāύāĻž, āφāĻ¤ā§āĻŽāϏāĻ‚āϝāĻŽāĻšā§€āύ āωāĻĻā§āĻĻāĻžāĻŽāϤāĻž, āφāĻŦ⧇āϗ⧇āϰ āĻĒā§āϰāĻŦāϞ āĻā§‹ā§œāĻž āĻšāĻžāĻ“ā§ŸāĻžā§Ÿ āϭ⧇āϏ⧇ āϝāĻžāĻ“ā§ŸāĻž āĻāĻ• āύāĻŋāĻ°ā§āϞāĻœā§āϜāϤāĻž, āϏāĻŽāĻžāϜ āĻ“ āϗ⧁āϰ⧁āϜāύāĻĻ⧇āϰ āĻŦāĻŋāϰ⧁āĻĻā§āϧ⧇ āĻŦāĻŋāĻĻā§āϰ⧋āĻš āĻ•āϰ⧇ āĻŦāϏāĻž, āĻāĻŽāύāĻ•āĻŋ āύāĻŋāĻœā§‡āϰ āĻĒā§āϰāϤāĻŋāĻļā§āϰ⧁āϤāĻŋāϰ āĻŦāĻŋāϰ⧁āĻĻā§āϧ⧇āĻ“ āĻŦāĻŋāĻĻā§āϰ⧋āĻš āĻ•āϰ⧇ āĻŦāϏāĻžāĨ¤ āĻĒā§āϰ⧇āĻŽāĻŋ āϝ⧇āύ āĻšāϞ āĻāĻ•āϟāĻž āύāĻŋ⧟āĻŽāĻļ⧃āĻ™ā§āĻ–āϞāĻžāĻŦāĻŋāĻšā§€āύ āϚāĻ•ā§āώ⧁āϞāĻœā§āϜāĻžāĻšā§€āύ āĻšāĻžāϏāĻŋāϰ āĻŦā§āϝāĻžāĻĒāĻžāϰāĨ¤ āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻŦā§āϝāĻžāĻĒāĻžāϰ⧇ āĻ•ā§ā§ŽāϏāĻŋāϤ āĻŦāϞ⧇ āĻ•āĻŋāϛ⧁ āύ⧇āχāĨ¤ āĻĒā§āϰ⧇āĻŽā§‡ āĻĒ⧜āϞ⧇ āĻŽāĻžāύ⧁āώ āĻ—āĻžāϧāĻž, āĻ—āϰ⧁ āχāĻ¤ā§āϝāĻžāĻĻāĻŋ āĻŦāύ⧇ āϝ⧇āϤ⧇ āĻĒāĻžāϰ⧇āĨ¤}
  4. The Tempest ('āĻĻā§āϝ āĻŸā§‡āĻŽā§āĻĒ⧇āĻˇā§āϟ') (Last work/ Swan Song )
  5. Twelfth Night ('āĻŸā§ā§Ÿā§‡āϞ āύāĻžāχāϟ')
  6. Two Gentlemen of Verona (āĻĻā§āϝ āϟ⧁ āĻœā§‡āĻ¨ā§āĻŸā§‡āϞāĻŽā§‡āύ āĻ…āĻŦ āϭ⧇āϰ⧋āύāĻž) ("āĻĻāĻŋ āϟ⧁ āĻœā§‡āĻ¨ā§āϟāϞāĻŽā§āϝāĻžāύ āĻ…āĻĢ āϭ⧇āϰ⧋āύāĻž"-āϭ⧇āϰ⧋āύāĻžāϰ āĻĻ⧁āχ āĻ­āĻĻā§āϰāϞ⧋āĻ•āĨ¤ āύāĻžāϟāϕ⧇āϰ āωāĻĒāĻœā§€āĻŦā§āϝ āĻŦāĻŋāώ⧟ āĻšāϞ⧋ āĻĒā§āϰ⧇āĻŽāĨ¤)
  7. Love's Labour's Lost ('āϞāĻžāĻ­āĻ¸ā§ āϞ⧇āĻŦāĻžāϰāĻ¸ā§ āϞāĻ¸ā§āϟ')
  8. The Taming of the Shrew ('āĻĻā§āϝ āĻŸā§‡āĻŽāĻŋāĻ‚ āĻ…āĻŦ āĻĻā§āϝ āĻļā§āϰ⧁')
  9. Measure for Measure
  10. The Merchant of Venice ('āĻĻā§āϝ āĻŽāĻžāĻ°ā§āĻšā§‡āĻ¨ā§āϟ āĻ…āĻŦ āϭ⧇āύāĻŋāϏ') (This play is about a Jew)
  11. Much Ado About Nothing (āĻŽāĻžāĻšā§ āĻ…ā§āϝāĻžāĻĄā§‹ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āύāĻžāĻĨāĻŋāĻ‚--'āϤ⧁āĻšā§āĻ›āϤāĻž āύāĻŋā§Ÿā§‡ āĻŦā§āϝāĻžāĻĒāĻ• āĻšā§ˆ āϚ⧈')
  12. Merry Wives of Windsor (āĻĻā§āϝ āĻŽā§‡āϰāĻŋ āĻ“ā§ŸāĻžāχāĻ­āĻ¸ā§ āĻ…āĻŦ āωāχāĻ¨ā§āĻĄāϏāϰ)
  13. Comedy of Errors (āĻĻā§āϝ āĻ•āĻŽā§‡āĻĄāĻŋ āĻ…āĻŦ āĻāϰāĻ•ā§āϏ') (āĻļ⧇āĻ•ā§āϏāĻĒā§€ā§ŸāĻžāϰ⧇āϰ āĻāĻ•āϟāĻŋ āĻ•āĻŽāĻŋāĻ• āύāĻžāϟāĻ• āĻšāϞ⧋-"āĻ•āĻŽā§‡āĻĄāĻŋ āĻ…āĻĢ āĻāϰāϰāĻ¸ā§"-āĻ­ā§āϰāĻžāĻ¨ā§āϤāĻŋāĻŽā§‚āϞāĻ• āĻ•āĻŽā§‡āĻĄāĻŋāĨ¤ āĻāχ āύāĻžāϟāϕ⧇āϰ āĻŦāĻŋāώ⧟āĻŦāĻ¸ā§āϤ⧁ āĻšāϞ⧋ āĻĻ⧁āχ āϝāĻŽāϜ āύāĻžā§ŸāĻ• āĻāĻŦāĻ‚ āϤāĻžāĻĻ⧇āϰ āĻĻ⧁āχ āϝāĻŽāϜ āϭ⧃āĻ¤ā§āϝāϕ⧇ āύāĻŋā§Ÿā§‡ āĻŦāĻŋāĻ­ā§āϰāĻžāĻ¨ā§āϤāĻŋāĻ•āϰ āϘāϟāύāĻž āϏ⧃āĻˇā§āϟāĻŋāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻšāĻžāĻ¸ā§āϝāϰāϏ āϏ⧃āĻˇā§āϟāĻŋ āĻ•āϰāĻžāĨ¤)
  14. The Winter's Tale ('āĻĻā§āϝ āωāχāĻ¨ā§āϟāĻžāϰāϏ āĻŸā§‡āϞ')
  15. Pericles, Prince of Tyre (āĻĒ⧇āϰāĻŋāĻ•ā§āϞāĻŋāϏ āĻĻā§āϝ āĻĒā§āϰāĻŋāĻ¨ā§āϏ āĻ…āĻŦ āϟāĻžā§ŸāĻžāϰ)

Comedy āĻŽāύ⧇ āϰāĻžāĻ–āĻžāϰ āĻ•ā§ŒāĻļāϞ: ATM Card Lost

A = As You Like It, All's Well That Ends Well, A Mid Summer Night's Dream

T = The Tempest, Twelfth Night, The Taming of the Shrew, Two Gentlemen of Verona,

M = The Merchant of Venice, Much Ado About Nothing, Merry Wives of Windsor, Measure for Measure

C = Comedy of Errors

L= Love's Labour's Lost

Histories (10):

  1. King John
  2. Richard II
  3. Henry IV (Part-1, Part-2)
  4. Henry V
  5. Henry VI (Part-1, Part-2, Part-3)
  6. Richard III
  7. Henry VIII

Narrative Poems : 03

(i) Venus and Adonis
(ii) The Rape of Lucrece
(iii) A Lover's Complaint.

Other poems:

(i) The Passionate Pilgrim
(ii) The Phoenix and the Turtle.

Important Notes :

Two plays by Shakespeare have been lost. They are "Love's Labour's Won" and “The History of Cardenio”

The unfinished play by Shakespeare is “Timon of Athens”

Shakespeare is called the "Father of English Literature".

He is also called the "Father of English Drama".

Shakespeare's Masque Plays

  1. Henry ViII
  2. A Midsummer Night's Dream
  3. Romeo and Juliet
  4. The Tempest

Shakespeare's Problem Plays

  1. All's Well That Ends Well
  2. Measure for Measure
  3. Troilus and Cressida
  4. The Winter's Tale

Shakespeare's Roman Plays

  1. Antony and Cleopatra
  2. Coriolanus
  3. Julius Caesar

Shakespare's Romance Plays

  1. Pericles
  2. Cymbeline
  3. The Winter's Tale
  4. The Tempest


Shakespeare's Tragicomedy Plays

  1. Cymbeline
  2. The Merchant of Venice
  3. The Winter's Tale

William Shakespeare āĻāϰ āĻ•āĻŋāϛ⧁ Quotations

Hamlet [Revenge Tragedy]

  1. "To be or not to be that is the question" is the beginning of a famous soliloquy of Hamlet. (āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āϤāĻžāϰ āĻŦāĻžāĻŦāĻžāϰ āĻšāĻ¤ā§āϝāĻžāĻ•āĻžāϰ⧀āϕ⧇ āĻšāĻ¤ā§āϝāĻž āĻ•āϰāĻŦ⧇ āĻ•āĻŋ āĻ•āϰāĻŦ⧇ āύāĻž āĻāχ āϏāĻŋāĻĻā§āϧāĻžāĻ¨ā§āϤāĻšā§€āύāϤāĻžāϕ⧇ āĻŦā§‹āĻāĻžāύ⧋ āĻšā§Ÿā§‡āϛ⧇āĨ¤)
  2. Frailty the name is woman. (āĻšā§āϝāĻžāĻŽāϞ⧇āĻŸā§‡āϰ āĻŦāĻžāĻŦāĻž āĻŽāĻžāϰāĻž āĻ—āĻŋā§Ÿā§‡āϛ⧇āύ āĻĻ⧁'āĻŽāĻžāϏ āĻšā§Ÿ āύāĻŋ, āϰāĻžāύāĻŋāϰ āĻĒā§āϰāϤāĻŋ āĻ“ āϤāĻžāϰ āĻ­āĻžāϞāĻŦāĻžāϏāĻžāϰ āϕ⧋āύ⧋ āĻ…āĻ­āĻžāĻŦ āĻ›āĻŋāϞ āύāĻž āĻ…āĻĨāϚ āĻāϰ āĻŽāĻ§ā§āϝ⧇āχ āϤāĻŋāύāĻŋ āϤāĻžāϰ āĻ•āĻžāĻ•āĻžāϕ⧇ āĻŦāĻŋā§Ÿā§‡ āĻ•āϰ⧇ āĻŦāϏāϞ⧇āύ āϤāĻ–āύ āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āĻ­āĻžāĻŦ⧇--"āύāĻžāϰ⧀āϰ āφāϰ⧇āĻ• āύāĻžāĻŽ āĻĻ⧁āĻ°ā§āĻŦāϞāϤāĻž"āĨ¤-Hamlet
  3. Brevity is the soul of wit. (āĻĒāϞ⧋āύāĻŋ⧟āĻžāϏ āĻ•ā§āϞāĻĄāĻŋ⧟āĻžāϏāϕ⧇ āĻŦāϞ⧇ - āϏāĻ‚āĻ•ā§āώ⧇āĻĒ⧇ āĻŦāϞāĻžāχ āĻŦ⧁āĻĻā§āϧāĻŋāĻŽāĻžāύ⧇āϰ āϞāĻ•ā§āώāĻŖ") ---Hamlet
  4. There are nothing either good or bad but thinking makes it so. (āĻšā§āϝāĻžāĻŽāϞ⧇āϟ-āϰ⧋āĻœā§‡āύāĻ•ā§āϰāĻžāĻ¨ā§āϟāϜ āĻ“ āĻ—āĻŋāϭ⧇āύāĻ¸ā§āϟāĻžāĻ°ā§āύāϕ⧇ āĻŦāϞ⧇ "āĻ­āĻžāϞ āĻŽāĻ¨ā§āĻĻ āĻŦāϞ⧇ āĻ•āĻŋāϛ⧁ āύ⧇āχ āĻŽāύāχ āϤāĻž āϏ⧃āĻˇā§āϟāĻŋ āĻ•āϰ⧇āĨ¤") – Hamlet
  5. Neither a borrower nor a lender be; For loan oft loses both itself and friend. (āĻĒāϞ⧋āύāĻŋ⧟āĻžāϏ āĻ˛ā§‡ā§ŸāĻžāĻ°ā§āĻĄā§‡āϏāϕ⧇ āĻŦāϞ⧇-- āĻ…āϤāĻŋāϰāĻŋāĻ•ā§āϤ āĻ–āϰāĻšā§‡āϰ āĻŦā§āϝāĻžāĻĒāĻžāϰ⧇ āϏāϤāĻ°ā§āĻ• āĻĨāĻžāĻ•āĻŦ⧇āĨ¤ "āĻ…āĻ¨ā§āϝ⧇āϰ āĻ•āĻžāĻ› āĻĨ⧇āϕ⧇ āϧāĻžāϰ āĻ•āϰāĻŦ⧇ āύāĻž āĻŦāĻž āĻ…āĻ¨ā§āϝāϕ⧇ āϧāĻžāϰ āĻĻ⧇āĻŦ⧇ āĻ“ āύāĻž, āϤāĻžāĻšāϞ⧇ āϟāĻžāĻ•āĻž, āĻŦāĻ¨ā§āϧ⧁ āĻĻ⧁āχ āχ āĻšāĻžāϰāĻžāĻŦ⧇"āĨ¤) ---Hamlet
  6. When sorrows come, they come not single spices but in battalions. (āĻ•ā§āϞāĻĄāĻŋ⧟āĻžāϏ āĻ—āĻžāϰāϟ⧁āĻĄāϕ⧇ āĻŦāϞāϞ⧇āύ, (āĻ“āĻĢ⧇āϞāĻŋ⧟āĻžāϰ āĻŦāĻžāĻŦāĻžāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒāϰ) āĻĻ⧇āĻ–, "āĻĻ⧁āσāĻ– āϝāĻ–āύ āφāϏ⧇ āĻāĻ•āĻž āφāϏ⧇ āύāĻž, āφāϏ⧇ āĻĻāϞ āĻŦ⧇āρāĻ§ā§‡â€āĨ¤) --- Hamlet
  7. There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy. (āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āĻŦāϞ⧇, "āĻ¸ā§āĻŦāĻ°ā§āϗ⧇ āĻ“ āĻŽāĻ°ā§āĻ¤ā§āϝ⧇ āϤ⧋āĻŽāĻžāϰ āĻ­āĻžāĻŦāύāĻžāϰ āϏ⧀āĻŽāĻžāϰ āĻŦāĻžāχāϰ⧇āĻ“ āĻ…āύ⧇āĻ• āĻ•āĻŋāϛ⧁ āφāϛ⧇ āĻšā§‹āϰ⧇āĻļāĻŋāĻ“"āĨ¤)
  8. There is divinity that shapes our ends. (āĻ­āĻžāĻ—ā§āϝāχ āϏāĻ•āϞāϕ⧇ āĻšā§‚ā§œāĻžāĻ¨ā§āϤ āĻĒāϰāĻŋāĻŖāϤāĻŋāϰ āĻĻāĻŋāϕ⧇ āϠ⧇āϞ⧇ āĻĻā§‡ā§ŸāĨ¤)

Timon of Athens:

āĻāχ āύāĻžāϟāĻ•āϟāĻŋ āϤāĻŋāύāĻŋ āĻĒ⧁āϰ⧋ āϞāĻŋāϖ⧇ āϝ⧇āϤ⧇ āĻĒāĻžāϰ⧇āύ āύāĻŋāĨ¤ āĻāχ āύāĻžāϟāĻ•āϟāĻŋ āϤāĻžāϰ ā§Šā§ŽāϤāĻŽ āύāĻžāϟāĻ• āĻ›āĻŋāϞāĨ¤ āĻāϟāĻŋ āĻ…āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŦāϞ⧇ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋ⧟āĻžāϰ⧇āϰ āĻļ⧇āώ āύāĻžāϟāĻ• āĻšāϞ⧋ The TampestāĨ¤ āĻāχ āĻ…āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āύāĻžāϟāĻ•āϟāĻŋāϰ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āωāĻ•ā§āϤāĻŋ āĻšāϞ⧋:

  1. Life is an uncertain voyage. (āĻœā§€āĻŦāύ āĻāĻ• āĻ…āύāĻŋāĻļā§āϚāĻŋāϤ āϝāĻžāĻ¤ā§āϰāĻžāϰ āύāĻžāĻŽāĨ¤)

King Lear:

  1. Nothing will come of nothing. (āĻ•āĻžāϰāĻŖ āĻ›āĻžā§œāĻž āĻ•āĻžāĻ°ā§āϝ āĻšā§Ÿ āύāĻžāĨ¤)
  2. I am a man nore sinned against tha sinning. (āφāĻŽāĻŋ āĻāĻŽāύ āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āώ āϏ⧇ āϝāϤāϟāĻž āĻ…āĻ¨ā§āϝāĻžā§Ÿ āĻ•āϰ⧇āϛ⧇ āϤāĻžāϰ āĻĨ⧇āϕ⧇ āĻŦ⧇āĻļāĻŋ āĻ…āĻ¨ā§āϝāĻžā§Ÿ āϤāĻžāϰ āϏāĻžāĻĨ⧇ āĻ•āϰāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤)
  3. Thankless children are sharper than poisonous snakes. (āĻ…āĻ•ā§ƒāϤāĻœā§āĻž āϏāĻ¨ā§āϤāĻžāύ āϏāĻžāĻĒ⧇āϰ āĻšā§‡ā§Ÿā§‡āĻ“ āĻŦ⧇āĻļāĻŋ āĻŦāĻŋāώāĻžāĻ•ā§āϤāĨ¤)
  4. My love is richer than my tongue. (āφāĻŽāĻŋ āϝāϤāϟāĻž āĻŦāϞāϤ⧇ āĻĒāĻžāϰāĻŋ āφāĻŽāĻžāϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āϤāĻžāϰ āĻšā§‡ā§Ÿā§‡āĻ“ āĻ…āύ⧇āĻ• āĻŦ⧇āĻļāĻŋāĨ¤ āĻāϟāĻŋ Hyperbole āĻāϰ āωāĻĻāĻžāĻšāϰāĻŖāĨ¤

Macbeth:

  1. "All the perfumes of Arabia will not sweeten this little hand". (āϞ⧇āĻĄāĻŋ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻŦāϞ⧇āύ “āĻšāĻžāϤ⧇ āϰāĻ•ā§āϤ⧇āϰ āĻ—āĻ¨ā§āϧ, āφāϰāĻŦ⧇āϰ āϏāĻŽāĻ¸ā§āϤ āφāϤāϰ āĻĸ⧇āϞ⧇ āĻĻāĻŋāϞ⧇āĻ“ āϏ⧇ āĻĻ⧁āĻ°ā§āĻ—āĻ¨ā§āϧ āĻĻā§‚āϰ āĻšāĻŦ⧇ āύāĻž"------Macbeth)
  2. Fair is foul, and foul is fair; (āĻĄāĻžāχāύāĻŋāϰāĻž āĻŦāϞ⧇, āϝāĻž āϏāĻ¤ā§āϝ āϤāĻžāχ āĻŽāĻŋāĻĨā§āϝāĻž, āϝāĻž āĻŽāĻŋāĻĨā§āϝāĻž āϤāĻžāχ āϏāĻ¤ā§āϝ' --āĻĄāĻžāχāύāĻŋāĻĻ⧇āϰ āĻ•āĻĨāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āĻ›āϞāύāĻž āĻ°ā§Ÿā§‡āϛ⧇āĨ¤ āϤāĻžāĻĻ⧇āϰ āϏ⧇āχ āĻ•āĻĨāĻžāϰ āĻ†ā§œāĻžāϞ⧇ āύāĻŋāĻšāĻŋāϤ āĻ›āĻŋāϞ āĻ…āĻ¨ā§āϝ āĻāĻ•āϟāĻž āĻ…āĻ°ā§āĻĨ --Macbeth)
  3. Life's but a walking shadow, a poor player, (Lady Macbeth āĻāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒāϰ Macbeth āĻŦāϞ⧇, "āĻœā§€āĻŦāύ āϚāϞāĻŽāĻžāύ āĻ›āĻžā§ŸāĻž āĻ›āĻžā§œāĻž āφāϰ āĻ•āĻŋāϛ⧁āχ āύāϝāĻŧ”) - Macbeth
  4. Look like an innocent flower/ But be the serpent under it. (āĻšā§‡āĻšāĻžāϰāĻžā§Ÿ āĻĢ⧁āϞ⧇āϰ āĻŽāϤ⧋ āĻĒā§āϰāĻŦāĻŋāĻ¤ā§āϰāϤāĻž āφāύ⧋, āĻ…āĻ¨ā§āϤāϰ⧇ āϰāĻžāĻ–ā§‹ āϏāĻ°ā§āĻĒāĻŋāϞ āĻ…āĻ­āĻŋāϏāĻ¨ā§āϧāĻŋāĨ¤ āϰāĻžāϜāĻž āĻĄāĻžāύāĻ•āĻžāύāϕ⧇ āĻšāĻ¤ā§āϝāĻžāϰ āϜāĻ¨ā§āϝ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨāϕ⧇ āϤāĻžāϰ āĻ¸ā§āĻ¤ā§āϰ⧀ āĻāĻ­āĻžāĻŦ⧇ āĻĒā§āϰāϰ⧋āϚāĻŋāϤ āĻ•āϰ⧇āĨ¤)

Julius Caesar:

  1. Brutus, you too! (āĻŦā§āϰ⧁āϟāĻžāϏ, āϤ⧁āĻŽāĻŋāĻ“! āϤāĻžāϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāϘāĻžāϤāĻ•āϤāĻž āĻĻ⧇āϖ⧇ āϜ⧁āϞāĻŋ⧟āĻžāϏ āϏāĻŋāϜāĻžāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒā§‚āĻ°ā§āĻŦ⧇ āĻāχ āωāĻ•ā§āϤāĻŋ āĻ•āϰ⧇āύāĨ¤)
  2. Cowards die many times before their death, But the valiant never taste of death but once. (āĻ•āĻžāĻĒ⧁āϰ⧁āώ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āφāϗ⧇ āĻŦāĻšā§āĻŦāĻžāϰ āĻŽāϰ⧇, āϝāĻžāϰāĻž āϏāĻžāĻšāϏ⧀ āϤāĻžāĻĻ⧇āϰ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻāĻ•āĻŦāĻžāϰāχ'āĨ¤ āĻ•āĻžāϞāĻĒ⧁āĻ°ā§āĻŖāĻŋ⧟āĻžāϕ⧇ āϏāĻŋāϜāĻžāϰ āĻŦāϞ⧇āύāĨ¤) ------Julius Caesar.
  3. "Veni, vidi, vici";("I came; I saw; I conquered" āφāϏāϞāĻžāĻŽ, āĻĻ⧇āĻ–āϞāĻžāĻŽ, āϜ⧟ āĻ•āϰāϞāĻžāĻŽ) is a Latin phrase popularly attributed to Julius Caesar.

Famous Tragi-comedy/Problem Play

Measure for Measure:

  1. Some rise by sin and some by virtue fall. (āĻĒāĻžāĻĒ⧇ āĻ•āĻžāϰ⧋ āωāĻ¤ā§āĻĨāĻžāύ āĻšā§Ÿ āĻāĻŦāĻ‚ āĻĒā§‚āĻŖā§āϝ⧇ āĻ•āĻžāϰ⧋ āĻĒāϤāύ āϘāĻŸā§‡āĨ¤)
  2. The miserable have no other medicine but only hope. (āĻšāϤāĻ­āĻžāĻ—āĻžāĻĻ⧇āϰ āĻ•āĻžāϛ⧇ āφāĻļāĻžāχ āĻāĻ•āĻŽāĻžāĻ¤ā§āϰ āĻ”āώ⧁āϧāĨ¤)

The Merchant of Venice:

  1. All that glitters is not gold. (āϚāĻ•āϚāĻ• āĻ•āϰāϞ⧇āχ āϏ⧋āύāĻž āĻšā§Ÿ āύāĻžāĨ¤)
  2. Love is blind. (āĻ­āϞ⧋āĻŦāĻžāϏāĻž āĻ…āĻ¨ā§āϧ āĻšā§Ÿā§‡ āĻĨāĻžāϕ⧇āĨ¤)
  3. It is a wise father that knows his own child. (āϤāĻŋāύāĻŋāχ āĻŦāĻŋāĻœā§āĻž āĻĒāĻŋāϤāĻž āϝāĻŋāύāĻŋ āϤāĻžāϰ āϏāĻ¨ā§āϤāĻžāύāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻĒ⧁āϰ⧋ āĻ…āĻŦāĻ—āϤāĨ¤)
  4. In sooth, I know not why I am so child. (āϏāĻ¤ā§āϝ-āϏāĻ¤ā§āϝāχ āφāĻŽāĻŋ āϜāĻžāύāĻŋ āύāĻž āφāĻŽāĻŋ āϕ⧇āύ⧋ āĻŦāĻŋāĻŽāĻ°ā§āώāĨ¤)

Famous Comedies

As You Like It:

  1. "All the world's a stage and all the men and women merely players. They have their exists and their entrance and each man in the time plays many parts. (āĻœā§āϝāĻžāĻ•āϏ āϜāĻžāύāĻžā§Ÿ, "āϏāĻžāϰāĻž āĻĻ⧁āύāĻŋ⧟āĻžāϟāĻž āĻāĻ•āϟāĻž āϰāĻ™ā§āĻ—āĻŽāĻžā§āϚ, āĻĒā§āϰāϤāĻŋāϟāĻŋ āύāϰāύāĻžāϰ⧀ āĻšāĻšā§āϛ⧇ āĻ…āĻ­āĻŋāύ⧇āϤāĻž āφāϰ āĻ…āĻ­āĻŋāύ⧇āĻ¤ā§āϰ⧀, āϤāĻžāĻĻ⧇āϰāĻ“ āĻ°ā§Ÿā§‡āϛ⧇ āĻĒā§āϰāĻŦ⧇āĻļ āĻ“ āĻĒā§āϰāĻ¸ā§āĻĨāĻžāύāĨ¤ āĻāĻ•āϜāύāϕ⧇ āĻœā§€āĻŦāύ⧇ āĻ…āύ⧇āĻ• āĻ­ā§‚āĻŽāĻŋāĻ•āĻžā§Ÿ āĻ…āĻ‚āĻļ āĻ—ā§āϰāĻšāĻŖ āĻ•āϰāϤ⧇ āĻšā§ŸāĨ¤ āĨ¤"-As You Like It.
  2. Sweet are the uses of adversity. (āύāĻŋāĻ°ā§āĻŦāĻžāϏāĻŋāϤ āĻĄāĻŋāωāĻ• āĻĢā§āϰ⧇āĻĄāĻžāϰāĻŋāĻ• āĻŦāϞ⧇, "āĻĻ⧁āĻ°ā§āĻĻāĻŋāύ⧇āϰ āĻĻāĻžāύāχ āϝ⧇ āĻŽāϧ⧁āϰ/āĻĻ⧁āσāϖ⧇āϰ āĻĒā§āĻ°ā§Ÿā§‹āϜāĻ¨ā§€ā§ŸāϤāĻž āĻŽāϧ⧁āϰ āĻ•āϤ āĻŽāϧ⧁āϰ āφāĻŽāĻžāĻĻ⧇āϰ āĻāχ āĻœā§€āĻŦāύāĨ¤ āĻĒā§āϰāĻžāϏāĻžāĻĻ⧇āϰ āĻŽāĻŋāĻĨā§āϝ⧇ āĻ†ā§œāĻŽā§āĻŦāϰāĻĒā§‚āĻ°ā§āĻŖ āĻœā§€āĻŦāύ āĻĨ⧇āϕ⧇ āĻ•āϤ āϏ⧁āĻ¨ā§āĻĻāϰāĨ¤")------As You Like It.
  3. The duke is describing the world view he has been forced to adopt now that he has been disposed exiled by his villainous brother this is the 'adversity' for which he has found 'sweet uses' By 'uses', the duke means 'profits'.)

Twelfth Night:

āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻ•āĻŽā§‡āĻĄāĻŋ āύāĻžāϟāĻ•āĨ¤ āĻāχ āύāĻžāϟāϕ⧇āϰ āĻ…āĻ¨ā§āϝ āύāĻžāĻŽ āĻšāϞ What You Will.

  • Be not afraid of greatness. Some are born great, some achieve greatness and others have greatness thrust upon them. (āĻŽāĻšā§Ž āĻšāĻ“ā§ŸāĻž āύāĻŋā§Ÿā§‡ āĻļāĻ™ā§āĻ•āĻŋāϤ āĻšā§Ÿā§‹ āύāĻžāĨ¤ āϕ⧇āω āϕ⧇āω āĻŽāĻšāĻ¤ā§āĻ¤ā§āĻŦ āύāĻŋā§Ÿā§‡āχ āϜāĻ¨ā§āĻŽā§‡, āϕ⧇āω āϕ⧇āω āĻŽāĻšāĻ¤ā§āĻ¤ā§āĻŦ āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻ•āĻžāϰ⧋ āĻ•āĻžāϰ⧋ āωāĻĒāϰ āĻŽāĻšāĻ¤ā§āĻ¤ā§āĻŦ āϚāĻžāĻĒāĻžāύ⧋ āĻšā§ŸāĨ¤)
  • Love sought is good, but given unsought is better. (āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻ…āĻ¨ā§āĻŦ⧇āώāĻŖ āĻ­āĻžāϞ⧋, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻž āĻ…āĻ¨ā§āĻŦ⧇āώāĻŖ āύāĻž āĻ•āϰāĻž āφāϰāĻ“ āĻ­āĻžāϞ⧋āĨ¤)
  • If music be the food of love, play on. (āϝāĻžāĻĻ āĻ—āĻžāύāχ āĻšā§Ÿ āĻĒā§āϰ⧇āĻŽā§‡āϰ āχāĻ¨ā§āϧāύ, āϤāĻŦ⧇ āĻ—āĻžāĻ“āĨ¤)
  • Better a witty fool, than a foolish wit. (āĻŦā§‹āĻ•āĻž āĻĒā§āϰāĻœā§āĻžāĻžāĻŦāĻžāύ āĻšāĻŦāĻžāϰ āĻšā§‡ā§Ÿā§‡ āĻĒā§āϰāĻœā§āĻžāĻžāĻŦāĻžāύ āĻŦā§‹āĻ•āĻž āĻšāĻ“ā§ŸāĻžāĻ“ āωāĻ¤ā§āϤāĻŽāĨ¤)

A Midsummer Night's Dream:

āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻ•āĻŽā§‡āĻĄāĻŋ āύāĻžāϟāĻ•āĨ¤

01. Take pains, Be perfect. (āĻŦā§āϝāĻĨāĻž āĻĒāĻžāĻ“ āφāϰ āĻĒāϰāĻŋāĻĒā§‚āĻ°ā§āĻŖ āĻšāĻ“āĨ¤)
02. Love looks not with the eyes but with mind. (āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻšā§‹āĻ– āĻĻ⧇āϖ⧇ āύ⧟ āĻŽāύ āĻĻ⧇āϖ⧇ āĻŦ⧁āĻā§‡ āύāĻŋāϤ⧇ āĻšā§ŸāĨ¤)
03. The course of true love never did run smooth. (āĻĒā§āϰāĻ•ā§ƒāϤ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžā§Ÿ āĻ•āĻ–āύāĻ“ āϏāĻšāϜ āĻŽāĻŋāϞāύ āĻšā§Ÿ āύāĻžāĨ¤)

The Taming of the Shrew:

āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻ•āĻŽā§‡āĻĄāĻŋ āύāĻžāϟāĻ•āĨ¤ āĻŽā§āύ⧀āϰ āϚ⧌āϧ⧁āϰ⧀ āĻāχ āύāĻžāϟāϕ⧇āϰ āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰ⧇āϛ⧇āύ āϝāĻžāϰ āύāĻžāĻŽ 'āĻŽā§āĻ–āϰāĻž āϰāĻŽāĻŖā§€ āĻŦāĻļā§€āĻ•āϰāĻŖ'āĨ¤ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āϚāϰāĻŋāĻ¤ā§āϰ āĻšāϞ⧋ - Katherine - āϏ⧇ āĻāĻ•āϜāύ āĻ•āϞāĻšāĻĒā§āϰāĻŋ⧟ āĻŦāĻž āĻāĻ—ā§œāĻžāĻŸā§‡ āϰāĻŽāĻŖā§€ āĻŦāĻž shrew.

  1. I see a woman may be made a fool, If she had not a spirit to resist.

The Tempest:

āĻāϟāĻŋ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋ⧟āĻžāϰ⧇āϰ āϏāĻ°ā§āĻŦāĻļ⧇āώ āύāĻžāϟāĻ•āĨ¤ Last work āĻŦāĻž āϏāĻ°ā§āĻŦāĻļ⧇āώ āĻ•āĻ°ā§āĻŽāϕ⧇ āχāĻ‚āϰ⧇āϜāĻŋāϤ⧇ Swan song āĻŦāϞāĻž āĻšā§ŸāĨ¤ āĻāχ āύāĻžāϟāĻ•āϟāĻŋ ā§§ā§Ŧā§§ā§§ āϏāĻžāϞ⧇āϰ āĻĒāĻšā§‡āϞāĻž āύāϭ⧇āĻŽā§āĻŦāϰ White Hall - āĻ āϰāĻžāϜāĻž āĻœā§‡āĻŽāϏ⧇āϰ āϏāĻžāĻŽāύ⧇ āĻĒā§āϰāĻĨāĻŽ āĻŽāĻžā§āϚāĻ¸ā§āĻĨ āĻ•āϰāĻž āĻšā§ŸāĨ¤ āωāĻ˛ā§āϞ⧇āĻ–ā§āϝ āϝ⧇, āĻāχ āĻšā§‹ā§ŸāĻžāχāϟ āĻšāϞ ā§§ā§Ģā§Šā§Ļ-ā§§ā§Ŧā§¯ā§Ž āϏāĻžāϞ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻŦā§āϰāĻŋāϟāĻŋāĻļ āϰāĻžāϜāĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻŦāĻžāϏāĻ­āĻŦāύ āĻ›āĻŋāϞāĨ¤ āĻāχ āύāĻžāϟāϕ⧇āϰ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āϚāϰāĻŋāĻ¤ā§āϰ āĻšāϞ⧋ : Calliban, Ariel, Prospereo & Miranda.

āĻāχ āύāĻžāϟāϕ⧇āϰ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āωāĻ•ā§āϤāĻŋ :

  • Good wombs have borne bad sons.
  • Hell is empty and all the devils are here.

Romeo and Juliet

What's in a name? That which we call a rose / By any other name would smell as sweet [said by Juliet]

Juliet, prevented from marrying Romeo by the feud between their families, complains that Romeo's name is all that keeps him from her. (Compare "Romeo, Romeo! Wherefore art thou Romeo?")

Two Gentlemen of Verona:

  1. Home-keeping youth have ever homely wits. (āϝāĻžāϰāĻž āϘāϰ⧇ āĻŦāϏ⧇ āĻœā§€āĻŦāύ āĻ•āĻžāϟāĻžā§Ÿ āϤāĻžāĻĻ⧇āϰ āĻŦ⧁āĻĻā§āϧāĻŋāĻļ⧁āĻĻā§āϧāĻŋāĻ“ āύāĻŋāϤāĻžāĻ¨ā§āϤāχ āϘāĻ°ā§‹ā§ŸāĻž āĻšā§Ÿā§‡ āϝāĻžā§Ÿ)āĨ¤

āĻšā§‡āύāϰāĻŋ āϏāĻŋāϰāĻŋāĻœā§‡āϰ āύāĻžāϟāϕ⧇āϰ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āωāĻ•ā§āϤāĻŋ :

  1. Uneasy lies the head that wears a crown. (āĻŽā§āϕ⧁āϟ āĻĒāϰāĻŋāĻšāĻŋāϤ āĻŦā§āϝāĻ•ā§āϤāĻŋāϰ āĻĒāĻ•ā§āώ⧇ āĻ¸ā§āĻŦāĻ¸ā§āϤāĻŋāϤ⧇ āϘ⧁āĻŽāĻžāύ⧋ āϏāĻšāϜ āύ⧟āĨ¤) [Henry The Fourth, Part 2 Act 3, scene 1, 26-3 1]
  2. Men of few are the best men. (āĻ•āĻŽ āĻ•āĻĨāĻžāϰ āĻŽāĻžāύ⧁āώāχ āϏāĻŦāĻšā§‡ā§Ÿā§‡ āĻ‰ā§ŽāĻ•ā§ƒāĻˇā§āϟ āĻŽāĻžāύ⧁āώāĨ¤) [ Henry VI]

āĻ•āĻŽā§‡āĻĄāĻŋ āĻ…āĻŦ āĻāϰāĻ°ā§â€ŒāϏ (⧧⧝⧝⧍-ā§¯ā§Š)

Character :

āĻĻ⧁āχ āϝāĻŽāϜ (āĻŽāύāĻŋāĻŦ) āĻĻ⧁āχ āĻŽāύāĻŋāĻŦ⧇āϰ ⧍ āϚāĻžāĻ•āϰ

āĻĻ⧁āχ āϝāĻŽāϜ (āϚāĻžāĻ•āϰ/āϭ⧃āĻ¤ā§āϝ) ⧍ āĻŽāύāĻŋāĻŦ⧇āϰ ⧍ āϚāĻžāĻ•āϰ

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ: āĻāχ āύāĻžāϟāϕ⧇āϰ āĻŦāĻŋāώ⧟āĻŦāĻ¸ā§āϤ⧁ āĻšāϞ⧋ āĻĻ⧁āχ āϝāĻŽāϜ āύāĻžā§ŸāĻ• āĻāĻŦāĻ‚ āϤāĻžāĻĻ⧇āϰ āĻĻ⧁āχ āϝāĻŽāϜ āϭ⧃āĻ¤ā§āϝāϕ⧇ āύāĻŋā§Ÿā§‡ āĻŦāĻŋāĻ­ā§āϰāĻžāĻ¨ā§āϤāĻŋāĻ•āϰ āϘāϟāύāĻž āϏ⧃āĻˇā§āϟāĻŋāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻšāĻžāĻ¸ā§āϝāϰāϏ āϏ⧃āĻˇā§āϟāĻŋ āĻ•āϰāĻžāĨ¤ āϝ⧇āĻšā§‡āϤ⧁ āϝāĻŽāϜ āύāĻžā§ŸāĻ• āĻĻ⧁āϜāύ āϝ⧇āĻŽāύ āĻĻ⧇āĻ–āϤ⧇ āĻāĻ•āχ āϰāĻ•āĻŽ āφāĻŦāĻžāϰ āϤ⧇āĻŽāύāĻŋ āĻāĻĻ⧇āϰ āϭ⧃āĻ¤ā§āϝ āĻĻ⧁āϜāύāĻ“ āĻĻ⧇āĻ–āϤ⧇ āĻāĻ•āχ āϰāĻ•āĻŽāĨ¤ āĻĢāϞ⧇ āĻĻ⧁āχ āϝāĻŽāϜ āĻŽāύāĻŋāĻŦ āĻāĻŦāĻ‚ āĻĻ⧁āχ āϝāĻŽāϜ āϚāĻžāĻ•āϰāĻĻ⧇āϰ āύāĻŋā§Ÿā§‡ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻāĻŦāĻ‚ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻŦāĻžāχāϰ⧇ āϘāĻŸā§‡āϛ⧇ āύāĻžāύāĻž āĻŦ⧈āϚāĻŋāĻ¤ā§āϰāĻŽā§Ÿ āĻŦāĻŋāĻ­ā§āϰāĻžāĻ¨ā§āϤāĻŋāĻ•āϰ āϘāϟāύāĻž, āĻāχ āϘāϟāύāĻž āϘāĻŸā§‡āϛ⧇ āϭ⧁āϞ⧇āϰ āĻĢāϞ⧇āĨ¤ āφāϰ āĻāχ āϭ⧁āϞ⧇āϰ āϜāĻ¨ā§āϝ āϘāĻŸā§‡āϛ⧇ āĻ•ā§ŒāϤ⧁āĻ•āĻ•āϰ āϘāϟāύāĻž, āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻāχ āϭ⧁āϞ⧇āϰ āĻ…āĻŦāϏāĻžāύ āϘāĻŸā§‡ āϏāĻŽāĻ¸ā§āϝāĻžāϰ āϏāĻŽāĻžāϧāĻžāύ āĻšā§Ÿā§‡ āϝāĻžā§ŸāĨ¤

āĻļ⧇āĻ•ā§āϏāĻĒā§€ā§Ÿāϰ⧇āϰ āĻĒā§āϰāĻĨāĻŽ āĻĒāĻ°ā§āĻŦ⧇ āϞāĻŋāĻ–āĻŋāϤ āĻ•āĻŽā§‡āĻĄāĻŋ āύāĻžāϟāĻ•āϗ⧁āϞāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ āĻĒā§āϰāĻĨāĻŽā§‡āχ āωāĻ˛ā§āϞ⧇āĻ– āĻ•āϰāĻž āϝāĻžā§Ÿ āĻĻā§āϝ āĻ•āĻŽā§‡āĻĄāĻŋ āĻ…āĻŦ āĻāϰāĻ°ā§â€ŒāϏ (the Comedy of Effors)āĨ¤ āψāĻļā§āĻŦāϰāϚāĻ¨ā§āĻĻā§āϰ āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ āĻāχ āύāĻžāϟāϕ⧇āϰ āĻāĻ•āϟāĻŋ āĻ­āĻžāĻŦāĻžāύ⧁āĻŦāĻžāĻĻ āĻ•āϰ⧇āύ, āύāĻžāĻŽ 'āĻ­ā§āϰāĻžāĻ¨ā§āϤāĻŋāĻŦāĻŋāϞāĻžāϏ'āĨ¤ āĻĒ⧁āϟāĻžāϏ⧇āϰ āĻ•āĻžāĻšāĻŋāύ⧀ āĻ…āĻŦāϞāĻŽā§āĻŦāύ⧇ āύāĻžāϟāĻ•āϟāĻŋ āϰāϚāĻŋāϤāĨ¤ āĻĒā§āϰāĻĨāĻŽ āĻ…āĻ­āĻŋāύ⧟āĻ•āĻžāϞ ā§§ā§Ģā§¯ā§Ž āĻ–ā§āϰ⧀āσāĨ¤ āϚāϰāĻŋāĻ¤ā§āϰ āϚāĻŋāĻ¤ā§āϰāĻŖ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŽāϜāĻžāĻĻāĻžāϰ āĻĒā§āϞāϟ āĻāĻŦāĻ‚ āϘāϟāύāĻžāϰ āĻĻā§āϰ⧁āϤāĻ—āϤāĻŋ āύāĻžāϟāĻ•āϟāĻŋāϕ⧇ āφāĻ•āĻ°ā§āώāĻŖā§€ā§Ÿ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇āĨ¤ āύāĻžāĻ•āĻ•āϟāĻŋ āĻ•ā§ŒāϤ⧁āĻ•āĻŽā§Ÿ āĻĢāĻžāĻ°ā§āϏ āϜāĻžāĻ¤ā§€ā§ŸāĨ¤ āĻ•āĻžāĻšāĻŋāύ⧀ āĻšāĻšā§āϛ⧇, āϝāĻŽāϜ āĻ­āĻžāχ, āĻĻ⧁'āĻ­āĻžā§Ÿā§‡āϰāχ āύāĻžāĻŽ āĻ…ā§āϝāĻžāĻ¨ā§āϟāĻŋāĻĢā§‹āϞāĻžāϏāĨ¤ āĻĻ⧁āϜāύ⧇āχ āĻĻ⧇āĻ–āϤ⧇ āĻāĻ•āϰāĻ•āĻŽ, āϤāĻžāĻĻ⧇āϰ āϭ⧃āĻ¤ā§āϝāĻ“ āϝāĻŽāϜ, āϤāĻžāĻĻ⧇āϰāĻ“ āĻĻ⧁'āϜāύ⧇āϰ āύāĻžāĻŽ āĻĄā§āϰ⧋āĻŽāĻŋāĻ“āĨ¤ āϝāĻŽāĻœā§‡āϰāĻž āĻĻ⧇āĻ–āϤ⧇āĻ“ āĻāĻ•āϰāĻ•āĻŽ, āϜāĻžāĻšāĻžāϜāĻĄā§āĻŦāĻŋāϰ āĻĢāϞ⧇ āϤāĻžāϰāĻž āĻŦāĻŋāĻšā§āĻ›āĻŋāĻ¨ā§āύāĨ¤ āϤāĻžāĻĻ⧇āϰ āύāĻŋā§Ÿā§‡ āĻŽāϜāĻžāϰ āĻŽāϜāĻžāϰ āϭ⧁āϞ āĻšāϤ⧇ āĻĨāĻžāϕ⧇āĨ¤ āĻĒāϰāĻŋāĻļ⧇āώ⧇ āĻāχ āϭ⧁āϞ āĻ­āĻžāĻ™ā§āϗ⧇, āĻļ⧇āώ⧇ āĻŽāĻŋāϞāύ āĻšā§ŸāĨ¤

āĻŽāĻŋāĻĄāϏāĻžāĻŽāĻžāϰ āύāĻžāχāϟāϏ āĻĄā§āϰāĻŋāĻŽ -ā§§ā§Ģ⧝ā§Ģ

Character :

Theseus (āĻĨāĻŋāϏāĻŋ⧟āĻžāϏ) - Duke of Athens

Hippolyta (āĻšāĻŋāĻĒā§‹āϞāĻŋāϟāĻž) - Queen of Amazons

Oberoo (āĻ“āĻŦ⧇āϰ⧋āρ) - āĻĒāϰ⧀āϰ āϰāĻžāϜāĻž

Titania (āϟāĻžāχāϟāĻžāύāĻŋ⧟āĻž) - āĻ“āĻŦ⧇āϰ⧋āρāϰ āĻ¸ā§āĻ¤ā§āϰ⧀

Helana (āĻšā§‡āϞ⧇āύāĻž) - āύāĻžā§ŸāĻŋāĻ•āĻž

Hermia (āĻšāĻžāĻ°ā§āĻŽāĻŋ⧟āĻž) - āύāĻžā§ŸāĻŋāĻ•āĻž

Demetrius (āĻĄāĻŋāĻŽāĻŋāĻŸā§āϰāĻŋ⧟āĻžāϏ) - Lover of Helana

Lysander (āϞāĻžāχāϏ⧇āύāĻĄāĻžāϰ) - Lover of Hermia

Botom (āĻŦāϟāĻŽ) – āĻ—āĻžāϧāĻžāϰ āĻŽā§āĻ–ā§‹āĻļāϧāĻžāϰ⧀ āĻŦā§āϝāĻ•ā§āϤāĻŋ

Puck (āĻĒāĻžāĻ•) - āϭ⧃āĻ¤ā§āϝ

āύāĻžāϟāϕ⧇āϰ āϧāϰāĻŖ : āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻĒā§āϰ⧇āĻŽāĻ­āĻŋāĻ¤ā§āϤāĻŋāĻ• āĻšāĻžāĻ¸ā§āϝāϰāϏāĻžāĻ¤ā§āĻŽāĻ• Comedy āύāĻžāϟāĻ•āĨ¤

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ: āύāĻžāϟāĻ•āϟāĻŋāϰ āĻŦāĻŋāώ⧟āĻŦāĻ¸ā§āϤ⧁ āĻšāϞ⧋ āĻĒā§āϰ⧇āĻŽāĨ¤ āĻāϰ āĻ•āĻžāĻšāĻŋāύ⧀ āĻāĻĨ⧇āĻ¨ā§āϏ⧇āϰ āĻĄāĻŋāωāĻ• Theseus āĻ“ āĻ…ā§āϝāĻžāĻŽāĻžāϜāύ⧇āϰ āϰāĻžāĻŖā§€ Hippolyta-āϰ āĻŦāĻŋāĻŦāĻžāĻš āϘāϟāύāĻžāϕ⧇ āϘāĻŋāϰ⧇ āφāĻŦāĻ°ā§āϤāĻŋāϤāĨ¤ āĻĒāϰ⧀āϰ āϰāĻžāϜāĻž Oberoo āϏāĻŦāĻžāϰ āĻšā§‹āϖ⧇ Love of Idleness - āύāĻžāĻŽā§‡āϰ āĻĢ⧁āϞ⧇āϰ āϰāϏ āĻĸ⧇āϞ⧇ āĻĻāĻŋā§Ÿā§‡āϛ⧇āĨ¤ āĻāĻŽāύāĻ•āĻŋ āύāĻŋāĻœā§‡āϰ āĻ¸ā§āĻ¤ā§āϰ⧀ TitaniaāĻāϰ āĻšā§‹āϖ⧇āĻ“ āĻĸ⧇āϞ⧇ āĻĻāĻŋā§Ÿā§‡āϛ⧇āĨ¤ āĻĢāϞ⧇ āϟāĻžāχāϟāĻžāύāĻŋ⧟āĻž āϘ⧁āĻŽ āĻĨ⧇āϕ⧇ āĻœā§‡āϗ⧇ āωāϠ⧇ āĻ—āĻžāϧāĻžāϰ āĻŽā§āĻ–ā§‹āĻļāϧāĻžāϰ⧀ āĻŦāϟāĻŽāϕ⧇ āĻ­āĻžāϞāĻŦ⧇āϏ⧇ āĻĢ⧇āϞ⧇āϛ⧇āĨ¤

āĻ…āĻ¨ā§āϝ āĻĻāĻŋāϕ⧇ āĻ“āĻŦ⧇āϰ⧋āρāϰ āϭ⧃āĻ¤ā§āϝ Puck āϞāĻžāχāϏ⧇āύāĻĄāĻžāϰ āĻ“ āĻĄāĻŋāĻŽāĻŋāĻŸā§āϰāĻŋ⧟āĻžāϏ āĻāϰ āĻšā§‹āϖ⧇ āϏ⧇āχ āĻĢ⧁āϞ⧇āϰ āϰāϏ āĻĸ⧇āϞ⧇ āĻĻā§‡ā§Ÿ, āĻĢāϞ⧇ Lysander āĻ“ Demetrius āĻĻ⧁āϜāύāχ Helana-āϕ⧇ āĻĒā§āϰ⧇āĻŽ āύāĻŋāĻŦ⧇āĻĻāύ āĻ•āϰ⧇āĨ¤ āφāϰ āĻāĻ­āĻžāĻŦ⧇āχ āύāĻžāύāĻž āĻĻā§‹āώāĻžāϰ⧋āĻĒ āĻ“ āĻ•āĻžāĻšāĻŋāύ⧀āϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋā§Ÿā§‡ āύāĻžāϟāĻ•āϟāĻŋ āĻ•āĻŽā§‡āĻĄāĻŋ āĻšāϤ⧇ āĻĨāĻžāϕ⧇āĨ¤ āĻĒāϰāĻŋāĻļ⧇āώ⧇ āϏāĻŦāĻžāϰ āĻšā§‹āϖ⧇ āĻĒā§āϰāϤāĻŋāώ⧇āϧāĻ• āĻĢ⧁āϞ⧇āϰ āϰāϏ āĻĸ⧇āϞ⧇ āĻĒ⧁āύāϰāĻžā§Ÿ āϏ⧁āĻ¸ā§āĻĨāĻŋāϰ āĻ•āϰāĻž āĻšā§Ÿ āĻāĻŦāĻ‚ āύāĻžāϟāϕ⧇āϰ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āϘāĻŸā§‡āĨ¤

āĻ…ā§āϝāĻžāϜ āχāω āϞāĻžāχāĻ• āχāϟ -ā§§ā§Ŧā§Ļā§Ļ

Oliver (āĻ…āϞāĻŋāĻ­āĻžāϰ-āĻŦ⧜ āĻ­āĻžāχ) – āύāĻžā§ŸāĻ•
Orlando (āĻ…āϰāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄ-āϛ⧋āϟ āĻ­āĻžāχ)
Duke Senior (āĻĄāĻŋāωāĻ• āϏāĻŋāύāĻŋāĻ“āϰ - āĻŦ⧜ āϰāĻžāϜāĻž)
Duke Frederic (āĻĄāĻŋāωāĻ• āĻĢā§āϰ⧇āĻĄāĻžāϰāĻŋāĻ• - āϛ⧋āϟ āϰāĻžāϜāĻž) - āĻĄāĻŋāωāĻ• āϏāĻŋāύāĻŋāĻ“āϰ āĻāϰ āĻ­āĻžāχāĨ¤
Rosalind (āϰ⧋āϜāĻžāϞāĻŋāĻ¨ā§āĻĄ) - āĻĄāĻŋāωāĻ• āϏāĻŋāύāĻŋāĻ“āϰ āĻāϰ āĻāĻ•āĻŽāĻžāĻ¤ā§āϰ āĻ•āĻ¨ā§āϝāĻž
Celia (āϏāĻŋāϞāĻŋ⧟āĻž) - āĻĄāĻŋāωāĻ• āĻĢā§āϰ⧇āĻĄāĻžāϰāĻŋāĻ• āĻāϰ āĻāĻ•āĻŽāĻžāĻ¤ā§āϰ āĻ•āĻ¨ā§āϝāĻž
Forest of Arden (āφāĻ°ā§āĻĄā§‡āύ⧇āϰ āĻŦāύ/āϜāĻ™ā§āĻ—āϞ)
Charles (āϚāĻžāĻ°ā§āϞāϏ) -āĻŦā§€āϰ

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ :

āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āϰ⧋āĻŽāĻžāĻ¨ā§āϟāĻŋāĻ• āĻ•āĻŽā§‡āĻĄāĻŋ āύāĻžāϟāĻ•āĨ¤ āĻāχ āύāĻžāϟāϕ⧇ Orlando āĻāĻŦāĻ‚ Rosalind āĻāϰ āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻ•āĻžāĻšāĻŋāύ⧀ āύāĻžāύāĻž āĻŦ⧈āϚāĻŋāĻ¤ā§āϰāĻŽā§Ÿ āϘāϟāύāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϰ⧂āĻĒāϞāĻžāĻ­ āĻ•āϰ⧇āϛ⧇āĨ¤

āύāĻžāϟāϕ⧇ Duke Senior āϤāĻžāϰ āϛ⧋āϟ āĻ­āĻžāχ Duke Frederic āĻāϰ āĻĻā§āĻŦāĻžāϰāĻž āύāĻŋāĻ°ā§āĻŦāĻžāϏāĻŋāϤ āĻšā§ŸāĨ¤ āĻĄāĻŋāωāĻ• āϏāĻŋāύāĻŋ⧟āϰ āφāĻ°ā§āĻĄā§‡āύ⧇āϰ āϜāĻ™ā§āĻ—āϞ⧇ (Forest of Arden) āφāĻļā§āϰ⧟ āύ⧇āύāĨ¤ Duke Frederic āϤāĻžāϰ āĻŦ⧜ āĻ­āĻžāĻ‡ā§Ÿā§‡āϰ āĻ•āĻ¨ā§āϝāĻž Rosalind āϕ⧇ āϖ⧁āĻŦāχ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāϤ⧇āύ āĻŦāϞ⧇ āϤāĻžāϕ⧇ āϤāĻžāϰ āĻŦāĻžāĻŦāĻž Duke Senior āĻāϰ āϏāĻžāĻĨ⧇ āύāĻŋāĻ°ā§āĻŦāĻžāϏāĻŋāϤ āĻ•āϰ⧇āύ āύāĻŋāĨ¤

āĻ…āĻ¨ā§āϝāĻĻāĻŋāϕ⧇ - Oliver āϏāĻŽā§āĻĒāĻ¤ā§āϤāĻŋāϰ āϞ⧋āϭ⧇ āϤāĻžāϰ āϛ⧋āϟ āĻ­āĻžāχ Orlando āϕ⧇ āĻ¨ā§āϝāĻžāĻ¯ā§āϝ āĻ…āϧāĻŋāĻ•āĻžāϰ āĻĨ⧇āϕ⧇ āĻŦāĻžā§āϚāĻŋāϤ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āϤāĻžāϕ⧇ āĻĒ⧁⧜āĻŋā§Ÿā§‡ āĻŽāĻžāϰāĻžāϰ āώ⧜āϝāĻ¨ā§āĻ¤ā§āϰ āĻ•āϰ⧇āĨ¤ āĻāϤ⧇ Orlando āĻ—ā§ƒāĻš āĻ¤ā§āϝāĻžāĻ— āĻ•āϰ⧇ āφāĻ°ā§āĻĄā§‡āύ⧇āϰ āϜāĻ™ā§āĻ—āϞ⧇ āĻĒ⧌āρāϛ⧇āĨ¤

āĻāĻĻāĻŋāϕ⧇ āĻŦāĻ°ā§āϤāĻŽāĻžāύ āĻĄāĻŋāωāĻ• āĻĢā§āϰ⧇āĻĄāĻžāϰāĻŋāĻ•, āϰ⧋āϜāĻžāϞāĻŋāĻ¨ā§āĻĄāϕ⧇ āĻĒā§āϰāĻžāϏāĻžāĻĻ āĻ¤ā§āϝāĻžāĻ— āĻ•āϰāϤ⧇ āĻŦāϞ⧇āĨ¤ āϤāĻžāχ Rosalind āϤāĻžāϰ āϚāĻžāϚāĻžāϤ āĻŦā§‹āύ Celia āϕ⧇ āύāĻŋā§Ÿā§‡ āϐ āφāĻ°ā§āĻĄā§‡āύ⧇āϰ āϜāĻ™ā§āĻ—āϞ⧇ āĻĒ⧌āρāϛ⧇āĨ¤ āĻ…āĻŦāĻļ⧇āώ⧇ āύāĻžāύāĻž āϘāϟāύāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ Orlando-Rosalind, Oliver - Celia āϜ⧁āϟāĻŋ āĻŦāĻŋāĻŦāĻžāĻš āĻŦāĻ¨ā§āϧāύ⧇ āφāĻŦāĻĻā§āϧ āĻšā§ŸāĨ¤

āĻŸā§ā§Ÿā§‡āϞāĻĢāĻĨ āύāĻžāχāϟ – āĻĻā§āĻŦāĻžāĻĻāĻļ āϰāϜāύ⧀

Character :

Orsino (āĻ“āϰāϏāĻŋāύ⧋) - āφāχāϞāĻŋāĻŦāĻŋ⧟āĻžāϰ āĻĄāĻŋāωāĻ•

Olivia (āĻ“āϞāĻŋāĻ­āĻŋ⧟āĻž) - āĻ•āĻžāωāĻ¨ā§āĻŸā§‡āϰ āĻ•āĻ¨ā§āϝāĻž

Viola (āĻ­āĻžā§Ÿā§‹āϞāĻž) - āĻ›āĻĻā§āĻŽāĻŦ⧇āĻļāĻŋ āĻŦāĻžāϞāĻ•/ āϏāĻŋāĻŦāĻžāϏāϟāĻŋ⧟āĻžāύ āĻāϰ āĻŦā§‹āύ

Sebastian (āϏāĻŋāĻŦāĻžāϏāϟāĻŋ⧟āĻžāύ) - āĻ­āĻžā§Ÿā§‹āϞāĻžāϰ āĻ­āĻžāχ

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ :

āύāĻžāϟāϕ⧇āϰ āĻŦāĻŋāώ⧟āĻŦāĻ¸ā§āϤ⧁ āĻšāϞ⧋ āĻĒā§āϰ⧇āĻŽāĨ¤ āφāχāϞāĻŋāĻŦāĻŋ⧟āĻžāϰ āĻĄāĻŋāωāĻ• āĻ“āϰāϏāĻŋāύ⧋ āĻĒā§āϰ⧇āĻŽā§‡ āĻĒā§œā§‡āϛ⧇ āĻāĻ• āĻ•āĻžāωāĻ¨ā§āĻŸā§‡āϰ āĻ•āĻ¨ā§āϝāĻž āĻ“āϞāĻŋāĻ­āĻŋ⧟āĻžāϰāĨ¤ āĻŦāĻžāĻŦāĻž āĻ“ āĻ­āĻžāχāϕ⧇ āĻšāĻžāϰāĻŋā§Ÿā§‡ āĻ“āϞāĻŋāĻ­āĻŋ⧟āĻž āĻŽāύ⧇āϰ āĻĻ⧁āσāϖ⧇ āĻ•āĻžāϰāĻ“ āϏāĻ™ā§āϗ⧇ āĻŽāĻŋāϞāĻžāĻŽā§‡āĻļāĻž āĻ•āϰ⧇ āύāĻžāĨ¤ āĻāĻŽāύāĻ•āĻŋ āĻ“āϰāϏāĻŋāύ⧋āϰ āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻĒā§āϰāϤāĻŋ āϤāĻžāϰ āϕ⧋āύ āφāĻ—ā§āϰāĻš āύ⧇āχāĨ¤ āĻ āϏāĻŽā§Ÿ āϜāĻžāĻšāĻžāϜāĻĄā§āĻŦāĻŋ āĻšā§Ÿā§‡ āϐ āĻĻ⧇āĻļ⧇ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤ āĻšāϞ⧋ āϤāϰ⧁āύ⧀ āĻ­āĻžā§Ÿā§‹āϞāĻžāĨ¤ āϏ⧇ āĻŦāĻžāϞāϕ⧇āϰ āĻ›āĻĻā§āĻŽāĻŦ⧇āĻļ āϧāĻžāϰāĻŖ āĻ•āϰ⧇ āĻĄāĻŋāωāϕ⧇āϰ āĻ•āĻžāϛ⧇ āϚāĻžāĻ•āϰ⧇āϰ āĻ•āĻžāĻœā§‡ āύāĻŋāϝ⧁āĻ•ā§āϤ āĻšāϞ⧋āĨ¤ āϏ⧇ āĻ…āϞāĻŋāĻ­āĻŋ⧟āĻžāϰ āĻ•āĻžāϛ⧇ āĻĄāĻŋāωāϕ⧇āϰ āĻ āĻŋāĻ āĻŋ āύāĻŋā§Ÿā§‡ āϝ⧇āϤāĨ¤ āĻ“āϞāĻŋāĻ­āĻŋ⧟āĻž āĻ›āĻĻā§āĻŽāĻŦ⧇āĻļā§€ āĻ­āĻžā§Ÿā§‹āϞāĻžāϕ⧇ āĻ­āĻžāϞāĻŦ⧇āϏ⧇ āĻĢ⧇āϞ⧇āϛ⧇ āĻāĻŦāĻ‚ āϤāĻžāϕ⧇ āĻŦāĻŋā§Ÿā§‡ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āĻĒā§€ā§œāĻžāĻĒā§€ā§œāĻŋ āĻ•āϰ⧇āϛ⧇āĨ¤ āĻāĻŽāύ āϏāĻŽā§Ÿ āĻ­āĻžā§Ÿā§‹āϞāĻžāϰ āĻ­āĻžāχ āϏāĻŋāĻŦāĻžāϏāϟāĻŋ⧟āĻžāύ āĻāϏ⧇ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤāĨ¤ āĻ­āĻžā§Ÿā§‹āϞāĻž āĻ“ āϏāĻŋāĻŦāĻžāϏāϟāĻŋ⧟āĻžāύ āĻĻ⧇āĻ–āϤ⧇ āĻāĻ•āχ āϰāĻ•āĻŽāĨ¤ āĻĢāϞ⧇ āĻ“āϞāĻŋāĻ­āĻŋ⧟āĻž āĻĒā§œā§‡āϛ⧇ āĻĻāĻžāϰ⧁āύ āĻŦāĻŋāĻĒāĻĻ⧇āĨ¤ āĻ…āĻ¨ā§āϝāĻĻāĻŋāϕ⧇ āϏāĻŋāĻŦāĻžāϏāϟāĻŋ⧟āĻžāύ āĻĒā§œā§‡āϛ⧇ āĻ…āĻ¨ā§āϝ āĻŦāĻŋāĻĒāĻĻ⧇āĨ¤ āĻ•āĻžāϰāĻŖ āĻ­āĻžā§Ÿā§‹āϞāĻž āĻĻ⧇āĻ–āϤ⧇ āĻ āĻŋāĻ• āϤāĻžāϰ āĻŦā§‹āύ⧇āϰ āĻŽāϤ āϝ⧇ āϜāĻžāĻšāĻžāϜāĻĄā§āĻŦāĻŋāϤ⧇ āĻšāĻžāϰāĻŋā§Ÿā§‡ āϗ⧇āϛ⧇āĨ¤ āϝāĻ–āύ āĻ­āĻžā§Ÿā§‹āϞāĻž āĻ›āĻĻā§āĻŽāĻŦ⧇āĻļ āĻ›ā§‡ā§œā§‡ āύāĻŋāĻœā§‡āϰ āĻĒāϰāĻŋāϚ⧟ āĻĻāĻŋāϞ⧋ āϤāĻ–āύ āϏāĻŦ āϏāĻŽāĻ¸ā§āϝāĻžāϰ āϏāĻŽāĻžāϧāĻžāύ āĻšā§Ÿā§‡ āϗ⧇āϞ⧋āĨ¤ āĻ“āϰāϏāĻŋāύ⧋āϰ āϏāĻ™ā§āϗ⧇ āĻ›āĻĻā§āĻŽāĻŦ⧇āĻļāĻŋ āĻ­āĻžā§Ÿā§‹āϞāĻžāϰ āφāϰ āĻ“āϞāĻŋāĻ­āĻŋ⧟āĻžāϰ āϏāĻ™ā§āϗ⧇ āϏāĻŋāĻŦāĻžāϏāϟāĻŋ⧟āĻžāύ⧇āϰ āĻŦāĻŋāĻŦāĻžāĻšā§‡āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡āχ āύāĻžāϟāĻ•āϟāĻŋ āĻļ⧇āώ āĻšā§ŸāĨ¤

The Tempest- āĻĻā§āϝāĻž āĻŸā§‡āĻŽā§āĻĒ⧇āĻ¸ā§āϟ

Character :

Antonio (āĻ…ā§āϝāĻžāĻ¨ā§āĻŸā§‹āύāĻŋāĻ“) - āĻŦāĻ°ā§āϤāĻŽāĻžāύ āĻŽāĻŋāϞāĻžāύ⧇āϰ āĻĄāĻŋāωāĻ•, āĻ“ āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋āϰ āĻ­āĻžāχ

Prospero (āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋) - āĻŽāĻŋāϞāĻžāύ⧇āϰ āĻŽāĻšāĻžāĻŽāĻžāĻ¨ā§āϝ āĻĄāĻŋāωāĻ• (āϏāĻžāĻŦ⧇āĻ•), āĻĄāĻŋāωāĻ• āĻ…ā§āϝāĻžāĻ¨ā§āĻŸā§‹āύāĻŋāϰ āĻ­āĻžāχ, āĻ…ā§āϝāĻžāϰāĻŋā§Ÿā§‡āϞ āĻ“ āĻ•ā§āϝāĻžāϞāĻŋāĻŦāĻžāύ āĻāϰ āĻĒā§āϰāϭ⧁

Miranda (āĻŽāĻŋāϰāĻžāĻ¨ā§āĻĄāĻž) - āĻŽāĻŋāϞāĻžāύ⧇āϰ āĻŽāĻšāĻžāĻŽāĻžāĻ¨ā§āϝ āĻĄāĻŋāωāĻ• āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋āϰ āĻŽā§‡ā§Ÿā§‡

Caliban (āĻ…ā§āϝāĻžāϰāĻŋā§Ÿā§‡āϞ āĻ“ āĻ•ā§āϝāĻžāϞāĻŋāĻŦāĻžāύ) - āĻ…āĻļāϰ⧀āϰ⧀ āφāĻ¤ā§āĻŽāĻž (āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋āϰ āϭ⧃āĻ¤ā§āϝ)

Alonso (āĻ…ā§āϝāĻžāϞ⧋āύāϏ⧋) - āύ⧇āĻĒāϞāϏ⧇āϰ āϰāĻžāϜāĻž

Ferdinand (āϰāĻžāϜāϕ⧁āĻŽāĻžāϰ āĻĢāĻžāĻ°ā§āĻĻāĻŋāύāĻžāĻ¨ā§āĻĻ) - āύ⧇āĻĒāϞāϏ⧇āϰ āϰāĻžāϜāĻž āĻ…ā§āϝāĻžāϞ⧋āύāϏ⧋āϰ āϛ⧇āϞ⧇āĨ¤
Sebastian (āϏ⧇āĻŦāĻžāϏāϟāĻŋ⧟āĻžāύ) - āĻ…ā§āϝāĻžāϞ⧋āύāϏ⧋āϰ āĻ­āĻžāχ

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ:

āĻŽāĻŋāϞāĻžāύ⧇āϰ āĻŽāĻšāĻžāĻŽāĻžāĻ¨ā§āϝ āĻĄāĻŋāωāĻ• āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋ āϤāĻžāϰ āĻ­āĻžāχ āĻŦāĻ°ā§āϤāĻŽāĻžāύ āĻŽāĻŋāϞāĻžāύ⧇āϰ āĻĄāĻŋāωāĻ• āĻ…ā§āϝāĻžāĻ¨ā§āĻŸā§‹āύāĻŋāĻ“ āĻĻā§āĻŦāĻžāϰāĻž āύāĻŋāĻ°ā§āĻŦāĻžāϏāĻŋāϤ āĻšā§Ÿā§‡ āĻāĻ• āύāĻŋāĻ°ā§āϜāύ āĻĻā§āĻŦā§€āĻĒ⧇ āϤāĻžāρāϰ āĻŽā§‡ā§Ÿā§‡ āĻŽāĻŋāϰāĻžāĻ¨ā§āĻĄāĻžāϕ⧇ āύāĻŋā§Ÿā§‡ āĻŦāϏāĻŦāĻžāϏ āĻ•āϰāĻ›āĻŋāϞ⧇āύāĨ¤ āĻāĻ–āĻžāύ⧇ āϤāĻžāρāϰ āϏāĻ™ā§āĻ—ā§€ āĻ…āĻļāϰ⧀āϰ⧀ āφāĻ¤ā§āĻŽāĻž āĻ…ā§āϝāĻžāϰāĻŋā§Ÿā§‡āϞ āĻ“ āĻ•ā§āϝāĻžāϞāĻŋāĻŦāĻžāύāĨ¤ āĻāϰāĻž āϤāĻžāϰ āϭ⧃āĻ¤ā§āϝāĨ¤ āύāĻžāϟāĻ•āϟāĻŋāϤ⧇ āĻŽāĻŋāϞāĻžāύ āĻĨ⧇āϕ⧇ āύāĻŋāĻ°ā§āĻŦāĻžāϏāĻŋāϤ āĻŽāĻšāĻžāĻŽāĻžāĻ¨ā§āϝ āĻĄāĻŋāωāĻ• āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋āϰ āϝāĻžāĻĻ⧁āĻŦāĻŋāĻĻā§āϝāĻžāϰ āĻĻā§āĻŦāĻžāϰāĻž āĻĒā§āϰāϚāĻŖā§āĻĄ āĻā§œā§‡āϰ āĻ•āĻŦāϞ⧇ āĻĒā§œā§‡ āĻāĻ•āϟāĻŋ āϝāĻžāĻ¤ā§āϰ⧀āĻŦāĻžāĻšā§€ āϜāĻžāĻšāĻžāϜ āĻāϞ⧋āĻŽā§‡āϞ⧋ āĻ•āϰ⧇ āĻĻā§‡ā§ŸāĨ¤ āϜāĻžāĻšāĻžāĻœā§‡āϰ āϝāĻžāĻ¤ā§āϰ⧀āϰāĻž āĻšāϞ⧇āύ- āĻŽāĻŋāϞāĻžāύ⧇āϰ āĻŦāĻ°ā§āϤāĻŽāĻžāύ āĻĄāĻŋāωāĻ• āĻ…ā§āϝāĻžāĻ¨ā§āĻŸā§‹āύāĻŋāĻ“, āύ⧇āĻĒāϞāϏ⧇āϰ āϰāĻžāϜāĻž āĻ…ā§āϝāĻžāϞ⧋āύāϏ⧋, āϰāĻžāϜāϕ⧁āĻŽāĻžāϰ āĻĢāĻžāĻ°ā§āĻĻāĻŋāύāĻžāĻ¨ā§āĻĻ, āϰāĻžāϜāĻ­ā§āϰāĻžāϤāĻž āϏ⧇āĻŦāĻžāĻ¸ā§āϟāĻŋ⧟āĻžāύ, āĻāĻŦāĻ‚ āφāϰāĻ“ āĻ…āύ⧇āĻ•āĨ¤ āϜāĻžāĻšāĻžāϜ āĻāϞ⧋āĻŽā§‡āϞ⧋ āĻšā§Ÿā§‡ āϗ⧇āϞ⧇āĻ“ āϏāĻ•āϞ āϝāĻžāĻ¤ā§āϰ⧀ āύāĻŋāϰāĻžāĻĒāĻĻ⧇ āĻ›āĻŋāϞ āĻāĻŦāĻ‚ āϤāĻžāϰāĻž āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻĻāϞ⧇ āĻ­āĻžāĻ— āĻšā§Ÿā§‡ āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋āϰ āĻĻā§āĻŦā§€āĻĒ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϜāĻžā§ŸāĻ—āĻžā§Ÿ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāύ āĻ•āϰāĻ›āĻŋāϞ⧋āĨ¤

āύ⧇āĻĒāϞāϏ⧇āϰ āϰāĻžāϜāĻž āĻ…ā§āϝāĻžāϞ⧋āύāϏ⧋ āϭ⧇āĻŦ⧇āĻ›āĻŋāϞ āϤāĻžāϰ āϛ⧇āϞ⧇ āϜāĻžāĻšāĻžāϜāĻĄā§āĻŦāĻŋāϤ⧇ āĻŽāĻžāϰāĻž āϗ⧇āϛ⧇āĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻ…ā§āϝāĻžāϰāĻŋā§Ÿā§‡āϞ āϤāĻžāϰ āĻĒā§āϰāϭ⧁ āĻĒā§āϰāĻ¸ā§āĻĒā§‹āϰ⧋āϰ āύāĻŋāĻ°ā§āĻĻ⧇āĻļ āĻŽāϤ āύ⧇āĻĒāϞāϏ⧇āϰ āĻĒ⧁āĻ¤ā§āϰ āĻĢāĻžāĻ°ā§āĻĻāĻŋāύāĻžāĻ¨ā§āĻĻāϕ⧇ āĻ…āĻ•ā§āώāϤ āĻ…āĻŦāĻ¸ā§āĻĨāĻžā§Ÿ āϤ⧀āϰ⧇ āϤ⧁āϞ⧇ āĻāύ⧇āϛ⧇āĨ¤ āĻĢāĻžāĻ°ā§āĻĻāĻŋāύāĻžāĻ¨ā§āĻĻ āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋āϰ āĻ•āĻ¨ā§āϝāĻž āĻŽāĻŋāϰāĻžāĻ¨ā§āĻĄāĻžāϰ āĻĒā§āϰ⧇āĻŽā§‡ āĻĒā§œā§‡āĨ¤ āĻŽāĻŋāϰāĻžāĻ¨ā§āĻĄāĻžāϰ āĻĒā§āϰāϤāĻŋ āĻĢāĻžāĻ°ā§āĻĻāĻŋāύāĻžāĻ¨ā§āĻĻ⧇āϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻĒā§āϰāĻ¸ā§āĻĒ⧇āϰ⧋āϕ⧇ āϏāĻ¨ā§āϤ⧁āĻˇā§āϟ āĻ•āϰ⧇āĨ¤ āĻĒāϰāĻŋāĻļ⧇āώ⧇ āώ⧜āϝāĻ¨ā§āĻ¤ā§āϰāĻ•āĻžāϰ⧀āϰāĻž āĻļāĻžāĻ¸ā§āϤāĻŋ āĻĒ⧇āϞ⧋āĨ¤ āϏāĻŦāĻžāχ āφāĻŦāĻžāϰ āĻāĻ•āĻ¤ā§āϰāĻŋāϤ āĻšāϞ⧋ āφāϰ āĻāĻ­āĻžāĻŦ⧇āχ āύāĻžāϟāϕ⧇āϰ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āϘāĻŸā§‡āĨ¤

Romeo & Juliet (āϰ⧋āĻŽāĻŋāĻ“ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϜ⧁āϞāĻŋā§Ÿā§‡āϟ)

Character:

Romeo (āϰ⧋āĻŽāĻŋāĻ“) - āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ/āύāĻžā§ŸāĻ•

Juliet (āϜ⧁āϞāĻŋā§Ÿā§‡āϟ) – āύāĻžā§ŸāĻŋāĻ•āĻž

Montego (āĻŽāĻ¨ā§āĻŸā§‡āϗ⧁) - Romeo āĻāϰ āĻŦāĻžāĻŦāĻž

Lady Montego (āϞ⧇āĻĄāĻŋ āĻŽāĻ¨ā§āĻŸā§‡āϗ⧁) - Romeo āĻāϰ āĻŽāĻž

Capulet (āĻ•ā§āϝāĻžāĻĒāĻŋāωāϞ⧇āϟ) - Juliet āĻāϰ āĻŦāĻžāĻŦāĻž

Lady Capulet - (āϞ⧇āĻĄāĻŋ āĻ•ā§āϝāĻžāĻĒāĻŋāωāϞ⧇āϟ) - Juliet āĻāϰ āĻŽāĻž

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ :

āύāĻžāϟāĻ•āϟāĻŋ āϰ⧋āĻŽāĻŋāĻ“ āĻāĻŦāĻ‚ āϜ⧁āϞāĻŋā§Ÿā§‡āϟ āĻāϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻ—āĻ˛ā§āĻĒ āύāĻŋā§Ÿā§‡ āύāĻŋāĻ°ā§āĻŽāĻŋāϤāĨ¤ āϰ⧋āĻŽāĻŋāĻ“ āĻŦāĻžāĻŦāĻž āĻŽāĻ¨ā§āĻŸā§‡āϗ⧁ āĻāĻŦāĻ‚ āϰ⧋āĻŽāĻŋāĻ“āϰ āĻŽāĻž āϞ⧇āĻĄāĻŋ āĻŽāĻ¨ā§āĻŸā§‡āϗ⧁āĨ¤ āφāϰ āϜ⧁āϞāĻŋā§Ÿā§‡āϟ āĻāϰ āĻŦāĻžāĻŦāĻž āĻ•ā§āϝāĻžāĻĒāĻŋāωāϞ⧇āϟ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻŽāĻž āϞ⧇āĻĄāĻŋ āĻ•ā§āϝāĻžāĻĒāĻŋāωāϞ⧇āϟāĨ¤ āĻ•ā§āϝāĻžāĻĒāĻŋāωāϞ⧇āϟ āĻ“ āĻŽāĻ¨ā§āĻŸā§‡āϗ⧁ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻĻā§€āĻ°ā§āϘāĻĻāĻŋāύ⧇āϰ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦāχ āϤāĻžāĻĻ⧇āϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻāĻ•āĻŽāĻžāĻ¤ā§āϰ āĻŦāĻžāϧāĻžāρāĨ¤ āĻ āĻ•āĻžāϰāϪ⧇ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϘāϟāύāĻžāϰ āĻĒāϰ āϰ⧋āĻŽāĻŋāĻ“ āĻāĻŦāĻ‚ āϜ⧁āϞāĻŋā§Ÿā§‡āϟāϕ⧇ āĻĒā§āϰāĻžāĻŖ āĻĻāĻŋāϤ⧇ āĻšā§Ÿ āϝāĻžāϰ āĻŦāĻŋāύāĻŋāĻŽā§Ÿā§‡ āĻĻ⧁āχ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦ āϞāĻžāϘāĻŦ āĻšā§ŸāĨ¤ āφāϰ āĻ āĻ­āĻžāĻŦ⧇āχ āύāĻžāϟāĻ•āϟāĻŋ āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋ āϰ⧂āĻĒ āĻ¨ā§‡ā§ŸāĨ¤

Hamlet - āĻšā§āϝāĻžāĻŽāϞ⧇āϟ-ā§§ā§Ŧā§Ļā§§

Character:

Hamlet (āĻšā§āϝāĻžāĻŽāϞ⧇āϟ) - Protagonist-āύāĻžāϟāϕ⧇āϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ āĻ“- King Hamlet āĻāϰ āϛ⧇āϞ⧇āĨ¤

King Hamlet (āϰāĻžāϜāĻž āĻšā§āϝāĻžāĻŽāϞ⧇āϟ) āĻĄā§‡āύāĻŽāĻžāĻ°ā§āϕ⧇āϰ āĻĒā§‚āĻ°ā§āĻŦ⧇āϰ āϰāĻžāϜāĻž āĻāĻŦāĻ‚ Hamlet āĻāϰ āĻŦāĻžāĻŦāĻžāĨ¤

Gertrude (āĻ—āĻžāϰāĻŸā§āϰāĻĄ) - āĻĄā§‡āύāĻŽāĻžāĻ°ā§āϕ⧇āϰ āϰāĻžāĻŖā§€ āĻ“ Hamlet āĻāϰ āĻŽāĻžāĨ¤

Claudius (āĻ•ā§āϞāĻĄāĻŋ⧟āĻžāϏ) - āĻĄā§‡āύāĻŽāĻžāĻ°ā§āϕ⧇āϰ āϰāĻžāϜāĻž āĻ“ Hamlet āĻāϰ āϚāĻžāϚāĻž

Horatio (āĻšā§‹āϰāĻžāϏāĻŋāĻ“) - Hamlet āĻāϰ āĻŦāĻ¨ā§āϧ⧁

Ophelia (āĻ…āĻĢ⧇āϞāĻŋ⧟āĻž) - āύāĻžāϟāϕ⧇āϰ āύāĻžā§ŸāĻŋāĻ•āĻž āĻāĻŦāĻ‚ Hamlet āĻāϰ āĻĒā§āϰ⧇āĻŽāĻŋāĻ•āĻž

Laertes (āĻ˛ā§‡ā§ŸāĻžāĻ°ā§āϤ⧇āϏ) - Ophelia āĻāϰ āĻ­āĻžāχ

Polonius (āĻĒāϞāύāĻŋ⧟āĻžāϏ) - Ophelia'āϰ āĻŦāĻžāĻŦāĻž

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ:

āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āĻ•āĻ°ā§āϤ⧃āĻ• āĻĒāĻŋāϤāĻžāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒā§āϰāϤāĻŋāĻļā§‹āϧ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻĒā§āϰāĻšā§‡āĻˇā§āϟāĻžāχ āύāĻžāϟāĻ•āϟāĻŋāϰ āĻŽā§‚āϞ āĻŦāĻŋāώ⧟āĨ¤ āύāĻžāϟāϕ⧇ Claudius āĻ“ Gertrude āĻĻā§āĻŦāĻžāϰāĻž Hamlet āĻāϰ āĻŦāĻžāĻŦāĻž King Hamlet āϖ⧁āύ āĻšāύāĨ¤ Hamlet āϤāĻžāϰ āĻŦāĻžāĻŦāĻžāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻŦ āϘāϟāύāĻž āϤāĻžāϰ āĻŦāĻžāĻŦāĻžāϰāχ āĻĒā§āϰ⧇āϤāĻžāĻ¤ā§āĻŽāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϜāĻžāύāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤

āϤāĻžāχ āĻĒā§āϰāϤāĻŋāĻļā§‹āϧ⧇āϰ āύ⧇āĻļāĻžā§Ÿ āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āĻĒāĻžāĻ—āϞ⧇āϰ āĻ­āĻžāύ āĻ•āϰ⧇ āϤāĻžāϰ āϚāĻžāϚāĻž Claudius -āϕ⧇ āĻšāĻ¤ā§āϝāĻžāϰ āĻĒāϰāĻŋāĻ•āĻ˛ā§āĻĒāύāĻž āĻ•āϰ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϰāĻžāϜāĻž āĻ•ā§āϞāĻĄāĻŋ⧟āĻžāϏ āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āĻāϰ āĻĒāϰāĻŋāĻ•āĻ˛ā§āĻĒāύāĻž āĻŦ⧁āĻāϤ⧇ āĻĒ⧇āϰ⧇ āϤāĻžāϕ⧇āχ āĻšāĻ¤ā§āϝāĻž āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ Hamlet āĻ“ Laertes āĻāϰ āĻŽāĻ§ā§āϝ⧇ Fencing- Match" (āώ⧜āϝāĻ¨ā§āĻ¤ā§āϰāĻŽā§‚āϞāĻ• āϐāĻ•ā§āϝāϝ⧁āĻĻā§āϧ) āĻāϰ āĻ†ā§Ÿā§‹āϜāύ āĻ•āϰ⧇āĨ¤ āϰāĻžāϜāĻž āώ⧜āϝāĻ¨ā§āĻ¤ā§āϰ āĻ•āϰ⧇ āϤāϰāĻŦāĻžāϰāĻŋāϰ āĻĄāĻ—āĻžā§Ÿ āĻŦāĻŋāώ āĻŽāĻŋāĻļāĻžā§Ÿ āĻāĻŦāĻ‚ āĻŦāĻŋāώ āĻŽāĻŋāĻļā§āϰāĻŋāϤ āĻĒāĻžāύāĻŋ āϰāĻžāϖ⧇āĨ¤ Fencing- Match āĻ āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āĻ“ āĻ˛ā§‡ā§ŸāĻžāĻ°ā§āĻĄāϏ āĻāϕ⧇ āĻ…āĻĒāϰāϕ⧇ āϤāĻ˛ā§‹ā§ŸāĻžāϰ āĻĻā§āĻŦāĻžāϰāĻž āφāϘāĻžāϤ āĻ•āϰāϤ⧇ āĻĨāĻžāϕ⧇āĨ¤ āĻ āϏāĻŽā§Ÿ āĻ–āĻžāĻŽāĻ–ā§‡ā§ŸāĻžāϞāĻŋ āĻŦāĻļāϤ āϰāĻžāĻŖā§€ Gertrude, āĻšā§āϝāĻžāĻŽāϞ⧇āĻŸā§‡āϰ āϜāĻ¨ā§āϝ āϰāĻžāĻ–āĻž āĻŦāĻŋāώāĻŽāĻŋāĻļā§āϰāĻŋāϤ āĻĒāĻžāĻ¨ā§€ā§Ÿ āĻĒāĻžāύ āĻ•āϰ⧇ āĻŽāĻžāϰāĻž āϝāĻžā§ŸāĨ¤ āϏāĻŦāĻ•āĻŋāϛ⧁ āĻŦ⧁āĻāϤ⧇ āĻĒ⧇āϰ⧇ āĻšā§āϝāĻžāĻŽāϞ⧇āϟ āĻ•ā§āϞāĻĄāĻŋ⧟āĻžāϏāϕ⧇ āϛ⧁āϰāĻŋāϰ āφāϘāĻžāϤ āĻ“ āĻŦāĻŋāώ āĻŽāĻŋāĻļā§āϰāĻŋāϤ āĻĒāĻžāĻ¨ā§€ā§Ÿ āĻĒāĻžāύ āĻ•āϰāĻŋā§Ÿā§‡ āĻšāĻ¤ā§āϝāĻž āĻ•āϰ⧇āĨ¤ āϏāĻ°ā§āĻŦāĻļ⧇āώ⧇ Hamlet āĻ“ Laertes āĻŦāĻŋāώ āĻŽāĻŋāĻļā§āϰāĻŋāϤ āϤāĻ˛ā§‹ā§ŸāĻžāϰ āĻāϰ āφāϘāĻžāϤ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϕ⧋āϞ⧇ āĻĸāϞ⧇ āĻĒā§œā§‡āĨ¤ āĻāĻ­āĻžāĻŦ⧇āχ āύāĻžāϟāĻ•āϟāĻŋ āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋ āϰ⧂āĻĒ āϧāĻžāϰāĻŖ āĻ•āϰ⧇āĨ¤

King Lear - āĻ•āĻŋāĻ‚ āϞāĻŋ⧟āĻžāϰ

Character :

King Lear (āĻ•āĻŋāĻ‚ āϞāĻŋ⧟āϰ) - Protagonist -āĻāϰ āĻŽā§‚āϞ āϚāϰāĻŋāĻ¤ā§āϰ āĻāĻŦāĻ‚ āχāĻ‚āĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āϰāĻžāϜāĻžāĨ¤

Goneril (āĻ—āύ⧇āϰāĻŋāϞ) - King Lear-āĻāϰ āĻŦ⧜ āĻŽā§‡ā§Ÿā§‡āĨ¤

Regan (āϰāĻŋāĻ—āĻžāύ) – King Lear-āĻāϰ āĻŽā§‡āĻ āĻŽā§‡ā§Ÿā§‡āĨ¤

Cordelia (āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻž) - King Lear-āĻāϰ āϛ⧋āϟ āĻŽā§‡ā§Ÿā§‡āĨ¤

Edmund (āĻāĻĄāĻŽā§āĻ¨ā§āĻĄ) - āĻ–āϞāύāĻžā§ŸāĻ• āĻ“ āϰāĻŋāĻ—āĻžāύ-āĻāϰ āĻ¸ā§āĻŦāĻžāĻŽā§€āĨ¤

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ:

āĻŦā§āϰāĻŋāĻŸā§‡āύ⧇āϰ āϰāĻžāϜāĻž āϞāĻŋ⧟āĻžāϰāĨ¤ āϤāĻžāρāϰ āϤāĻŋāύ āĻ•āĻ¨ā§āϝāĻžāĨ¤ āĻ—āύāϰāĻŋāϞ, āϰāĻŋāĻ—āĻžāύ āφāϰ āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻžāĨ¤ āϰāĻžāϜāĻž āϏāĻŋāĻĻā§āϧāĻžāĻ¨ā§āϤ āύāĻŋāϞ⧇āύ āϤāĻŋāύāĻŋ āϤāĻžāϰ āϰāĻžāĻœā§āϝ, āϤāĻŋāύ āĻ•āĻ¨ā§āϝāĻžāϰ āĻŽāĻžāĻā§‡ āĻ­āĻžāĻ— āĻ•āϰ⧇ āĻĻāĻŋāĻŦ⧇āύāĨ¤ āϏ⧇ āĻŽā§‹āϤāĻžāĻŦ⧇āĻ• āϤāĻŋāύāĻŋ āϤāĻžāρāϰ, āϤāĻŋāύ āĻ•āĻ¨ā§āϝāĻžāϕ⧇ āĻĄā§‡āϕ⧇ āϜāĻŋāĻœā§āĻžā§‡āϏ āĻ•āϰāϞ⧇āύ āϕ⧇ āϤāĻžāϕ⧇ āĻ•āϤāϟāĻž āĻ­āĻžāϞ⧋āĻŦāĻžāϏ⧇āĨ¤ āϰāĻžāϜāĻžāϰ āĻŦāĻŋāĻŦāĻžāĻšāĻŋāϤāĻž āĻĻ⧁'āĻ•āĻ¨ā§āϝāĻž āĻ—āύāϰāĻŋāϞ āĻ“ āϰāĻŋāĻ—āĻžāύ āϤāĻžāϕ⧇ āύāĻžāύāĻž āϚāĻžāϟ⧁āĻŦāĻžāĻ•ā§āϝ⧇ āϏāĻ¨ā§āϤ⧁āĻˇā§āϟ āĻ•āϰ⧇ āϰāĻžāĻœā§āϝ⧇āϰ āĻĻ⧁āĻŸā§‹ āĻ…āĻ‚āĻļ āύāĻŋā§Ÿā§‡ āύāĻŋāϞāĨ¤ āĻļ⧇āώ⧇ āϛ⧋āϟ āĻ•āĻ¨ā§āϝāĻž āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻž āϜāĻžāύāĻžāϞ āϝ⧇ āϤāĻžāϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻĒ⧁āϰ⧋āϟāĻž āϰāĻžāϜāĻžāϕ⧇ āĻĻāĻŋāϞ⧇ āĻ¸ā§āĻŦāĻžāĻŽā§€āϰ āϜāĻ¨ā§āϝ āĻ•āĻŋ āĻĨāĻžāĻ•āĻŦ⧇, āĻĒāĻŋāϤāĻžāϰ āϝāĻž āĻĒā§āϰāĻžāĻĒā§āϝ āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻž āϤāĻžāχ āĻĻ⧇āĻŦ⧇āĨ¤ āĻāϟāĻž āĻļ⧁āύ⧇ āϰāĻžāϜāĻž āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻžāϕ⧇ āϰāĻžāĻœā§āϝ āĻĨ⧇āϕ⧇ āύāĻŋāĻ°ā§āĻŦāĻžāϏāύ āĻĻāĻŋāϞ⧇āύāĨ¤ āϏ⧇ āĻĢāϰāĻžāϏ⧀āϰāĻžāĻœā§‡āϰ āϏāĻžāĻĨ⧇ āĻŦāĻŋāĻŦāĻžāĻš āĻŦāĻ¨ā§āϧāύ⧇ āφāĻŦāĻĻā§āϧ āĻšā§Ÿā§‡ āĻĢā§āϰāĻžāĻ¨ā§āϏ⧇ āϚāϞ⧇ āϗ⧇āϞāĨ¤ āϰāĻžāϜāĻž āϤāĻžāϰ āĻĒā§āϰāϧāĻžāύ āĻ…āĻŽāĻžāĻ¤ā§āϝ āϗ⧁āĻšā§‡āĻ¸ā§āϟāĻžāϰāϕ⧇āĻ“ āϰāĻžāĻœā§āϝ āĻ›āĻžā§œāĻž āĻ•āϰāϞ⧇āύ āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻžāϰ āĻĒāĻ•ā§āώ⧇ āĻ•āĻĨāĻž āĻŦāϞāĻžāϰ āϜāĻ¨ā§āϝāĨ¤ āϰāĻžāϜāĻž āϤāĻžāϰ āϰāĻžāĻœā§āϝ āĻĒ⧁āϰ⧋ āĻĻāĻžāύ āĻ•āϰ⧇ āϤāĻžāϰ āĻŦā§œā§‹ āĻ•āĻ¨ā§āϝāĻž āĻ—āύāϰāĻŋāϞ⧇āϰ āĻ—ā§ƒāĻšā§‡ āφāĻļā§āϰ⧟ āύāĻŋāϞ⧇ āĻ—āύāϰāĻŋāϞ āϰāĻžāϜāĻžāϰ āĻ¸ā§āĻŦ⧇āĻšā§āĻ›āĻžāϚāĻžāϰāĻŋāϤāĻžāϰ āϜāĻ¨ā§āϝ āĻĒā§āϰāĻžāϏāĻžāĻĻ āĻĨ⧇āϕ⧇ āϤāĻžāϕ⧇ āϏāϰ⧇ āϝ⧇āϤ⧇ āĻŦāϞāϞ⧇ āϰāĻžāϜāĻž āϰāĻŋāĻ—āĻžāύ⧇āϰ āĻ•āĻžāϛ⧇ āϗ⧇āϞ⧇āύ, āϏ⧇āĻ–āĻžāύ⧇āĻ“ āĻĨāĻžāĻ•āϤ⧇ āύāĻž āĻĒ⧇āϰ⧇ āĻŦāύ⧇ āϜāĻ™ā§āĻ—āϞ⧇ āϘ⧁āϰ⧇ āĻŦā§‡ā§œāĻžāϤ⧇ āϞāĻžāĻ—āϞ⧇āύāĨ¤ āϗ⧁āĻšā§‡āĻ¸ā§āϟāĻžāϰ⧇āϰ āĻ¸ā§Ž āĻĒ⧁āĻ¤ā§āϰ āĻāĻĄāĻŽāĻ¨ā§āĻĄ āϰāĻžāϜāĻžāϰ āĻŦā§œā§‹ āĻĻ⧁'āĻ•āĻ¨ā§āϝāĻžāϰ āĻĒāĻ•ā§āώ⧇ āϝ⧋āĻ— āĻĻāĻŋā§Ÿā§‡ āϗ⧁āĻšā§‡āĻ¸ā§āϟāĻžāϰ⧇āϰ āĻšā§‹āĻ– āϤ⧁āϞ⧇ āĻĢ⧇āϞāϞ āφāϰ āϗ⧁āĻšā§‡āĻ¸ā§āϟāĻžāϰ⧇āϰ āφāϏāϞ āĻĒ⧁āĻ¤ā§āϰ āĻāĻĄāĻ—āĻžāϰāϕ⧇ āϰāĻžāĻœā§āϝ āĻ›āĻžā§œāĻž āĻ•āϰāϞāĨ¤ āϰāĻžāϜāĻž āĻ˛ā§€ā§ŸāĻžāϰ āϰāĻžāĻœā§āϝ āĻšāĻžāϰāĻž āĻšā§Ÿā§‡ āĻŦ⧁āĻāϞ⧇āύ āϕ⧇ āϤāĻžāϕ⧇ āϏāĻ¤ā§āϝāĻŋāĻ•āĻžāϰāĻ­āĻžāĻŦ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏ⧇āĨ¤ āϰāĻžāϜāĻžāϰ āϝāĻ–āύ āϚāϰāĻŽ āĻĻ⧁āϰāĻŦāĻ¸ā§āĻĨāĻž āϤāĻ–āύ āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻž āϤāĻžāϰ āϏ⧇āύāĻžāĻĻāϞ āύāĻŋā§Ÿā§‡ āĻāϞ⧋ āϰāĻžāϜāĻžāϕ⧇ āωāĻĻā§āϧāĻžāϰ āĻ•āϰāϤ⧇āĨ¤ āĻĻ⧁āĻ°ā§āĻ­āĻžāĻ—ā§āϝāĻ•ā§āϰāĻŽā§‡ āĻ•āĻ°ā§āĻĄā§‡āϞāĻŋ⧟āĻž āĻŦāĻ¨ā§āĻĻā§€ āĻšāϞ⧋, āĻ•āĻžāϰāĻžāĻ—āĻžāϰ⧇ āĻĒā§āϰāĻžāĻŖ āĻĻāĻŋāϤ⧇ āĻšāϞ⧋ āϤāĻžāϕ⧇, āϰāĻžāϜāĻž āĻ˛ā§€ā§ŸāĻžāϰ āϏ⧇āχ āĻļā§‹āϕ⧇ āĻŽāĻžāϰāĻž āϗ⧇āϞ⧇āύāĨ¤ āϗ⧁āĻšā§‡āĻ¸ā§āϟāĻžāϰ⧇āϰ āφāϏāϞ āĻĒ⧁āĻ¤ā§āϰ āĻāĻĄāĻ—āĻžāϰ āĻĻ⧁āĻ°ā§āĻŦ⧃āĻ¤ā§āϤ āĻāĻĄāĻŽāĻ¨ā§āĻĄāϕ⧇ āĻšāĻ¤ā§āϝāĻž āĻ•āϰāϞāĨ¤ āĻļ⧇āώ⧇ āĻāĻĄāĻ—āĻžāϰ āĻŦā§āϰāĻŋāĻŸā§‡āύ⧇āϰ āϰāĻžāĻœā§āϝāĻ­āĻžāϰ āĻŦ⧁āĻā§‡ āύāĻŋāϞāĨ¤ āĻ…āĻŦāĻļ⧇āώ⧇ āϰāĻžāϜāĻžāϰ āωāĻ•ā§āϤāĻŋ - "I am a man, more sinned against than sinning."

Macbeth- āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ

Character:

Macbeth (āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ) - Protagonist - āĻāϰ āĻŽā§‚āϞ āϚāϰāĻŋāĻ¤ā§āϰ- āϰāĻžāϜāĻž āĻĄāĻžāύāĻ•ā§āϝāĻžāύ āĻāϰ āϏ⧇āύāĻžāĻĒāϤāĻŋ

Lady Macbeth (āϞ⧇āĻĄāĻŋ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ) āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ⧇āϰ āĻŦāω (ā§ĒāĻ°ā§āĻĨ āĻĄāĻžāχāύāĻŋ āĻŦāϞāĻž āĻšā§Ÿ)

Duncan (āĻĄāĻžāύāĻ•ā§āϝāĻžāύ) āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āϰāĻžāϜāĻž

Malcon (āĻŽā§āϝāĻžāϞāĻ•āύ) āϰāĻžāϜāĻžāϰ āĻĒ⧁āĻ¤ā§āϰ

Macduff (āĻŽā§āϝāĻžāĻ•āĻĄāĻžāĻĢ) - āϰāĻžāϜāĻžāϰ āĻāĻ• āĻŦā§€āϰ (Knight)

Witches (āωāχāĻšā§‡āĻ¸ā§) - ā§Š āĻĄāĻžāχāύāĻŋ/āϝāĻžāĻĻ⧁āĻ•āϰ⧀

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ :

āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āϰāĻžāϜāĻž Duncan āĻāϰ āĻāĻ•āϜāύ āĻŦāĻŋāĻļā§āĻŦāĻ¸ā§āϤ āϏ⧇āύāĻžāĻĒāϤāĻŋ Macbeth āĻāĻŦāĻ‚ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ⧇āϰ āĻ¸ā§āĻ¤ā§āϰ⧀ Lady Macbeth āϝāĻžāϕ⧇ āύāĻžāϟāϕ⧇āϰ āϚāϤ⧁āĻ°ā§āĻĨ āĻĄāĻžāχāύ⧀ āĻŦāϞāĻž āĻšā§ŸāĨ¤

āύāĻžāϟāϕ⧇ āϤāĻŋāύāϜāύ āĻĄāĻžāχāύ⧀ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨāϕ⧇ āĻŦāϞ⧇āĻ›āĻŋāϞ āϏ⧇ āĻ•āĻĄā§‹āϰ⧇āϰ āĻ…āϧāĻŋāĻĒāϤāĻŋ āĻ“ āĻĒāϰāĻŦāĻ°ā§āϤ⧀āϤ⧇ āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āϰāĻžāϜāĻž āĻšāĻŦ⧇āĨ¤ āĻŦāĻŋāώ⧟āϟāĻŋ āϏ⧇ āϤāĻžāϰ āĻ¸ā§āĻ¤ā§āϰ⧀ āϞ⧇āĻĄāĻŋ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨāϕ⧇ āϜāĻžāύāĻžāϞāĨ¤ āϏ⧇ āĻ•āĻĄā§‹āϰ (āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻāĻ•āϟāĻŋ āϰāĻžāĻœā§āϝ) āφāĻ•ā§āϰāĻŽāĻŖ āĻ•āϰ⧇ āϜ⧟āϞāĻžāĻ­ āĻ•āϰāϞ āĻāĻŦāĻ‚ āϰāĻžāϜāĻž āϤāĻžāϕ⧇ āϐ āĻ•āĻĄā§‹āϰ āϰāĻžāĻœā§āϝ⧇āϰ āĻ…āϧāĻŋāĻĒāϤāĻŋ āĻŦāĻžāύāĻžāϞāĨ¤ āĻāĻ­āĻžāĻŦ⧇ āϤāĻžāĻĻ⧇āϰ āĻĒā§āϰāĻĨāĻŽ āĻ­āĻŦāĻŋāĻˇā§āĻ¯ā§ŽāĻŦāĻžāĻŖā§€ āϏāĻ¤ā§āϝāĻŋ āĻšāϞ⧋āĨ¤

āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻĻā§ƒā§ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āϰāĻžāϜāĻž āĻĄāĻžāύāĻ•āĻžāύ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ⧇āϰ āĻĻā§‚āĻ°ā§āϗ⧇ āĻāĻ• āϰāĻžāϤ⧇ āϏāĻĢāϰ⧇ āϗ⧇āϞ⧇āύāĨ¤ āϐ āϰāĻžāϤ⧇ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ, āϤāĻžāϰ āĻ¸ā§āĻ¤ā§āϰ⧀āϰ āĻĒā§āϰāϰ⧋āϚāύāĻžā§Ÿ āϘ⧁āĻŽāĻ¨ā§āϤ āĻ…āĻŦāĻ¸ā§āĻĨāĻžā§Ÿ āĻŦ⧃āĻĻā§āϧ āϰāĻžāϜāĻžāϕ⧇ āĻšāĻ¤ā§āϝāĻž āĻ•āϰ⧇āĨ¤ āĻ āĻ–āĻŦāϰ āĻĒā§‡ā§Ÿā§‡ āĻŦ⧃āĻĻā§āϧ āϰāĻžāϜāĻžāϰ āĻĒ⧁āĻ¤ā§āϰ Malcon (āĻŽā§āϝāĻžāϞāĻ•āύ āĻ“ Knight (āĻŦā§€āϰ) āĻŽā§āϝāĻžāĻ•āĻĄāĻžāĻĢ āĻĒāϞāĻžā§Ÿāύ āĻ•āϰ⧇āύāĨ¤ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āϰāĻžāϜāĻž āĻšāϞ⧇āύāĨ¤ āĻāĻ­āĻžāĻŦ⧇āχ āĻĄāĻžāχāύ⧀āĻĻ⧇āϰ āĻĻā§āĻŦāĻŋāĻ¤ā§€ā§Ÿ āĻ­āĻŦāĻŋāĻˇā§āĻ¯ā§ŽāĻŦāĻžāĻŖā§€ āĻ“ āϏāĻ¤ā§āϝāĻŋ āĻ•āϰāϞ⧇āύāĨ¤

āĻāĻŦāĻžāϰ āϰāĻžāĻœā§āϝ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻ•āϰāĻžāϰ āϏāĻŽā§Ÿ Lady Macbeth āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϤāĻžāϰ āĻ…āĻĒāϰāĻžāϧ⧇āϰ āĻ…āύ⧁āĻļā§‹āϚāύāĻž āĻ•āϰāϤ⧇ āĻ•āϰāϤ⧇ āĻĒāĻžāĻ—āϞ āĻšā§Ÿā§‡ āĻŽā§ƒāĻ¤ā§āϝ⧁āϏāĻœā§āϜāĻžā§Ÿ āϘ⧁āĻŽā§‡āϰ āĻŽā§‹āĻšā§‡ āωāĻ•ā§āϤāĻŋ āĻ•āϰ⧇ "All the perfumes of Arabia will not sweeten this little hand." āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁ āϕ⧋āϞ⧇ āĻĸāϞ⧇ āĻĒā§œā§‡āĨ¤

āĻāϰāχ āĻŽāĻžāĻā§‡ āĻĒāϞāĻžāϤāĻ• Malcon āĻ“ Macduff āĻĢāĻŋāϰ⧇ āφāϏ⧇ āĻāĻŦāĻ‚ Macbeth-āϕ⧇ āφāĻ•ā§āϰāĻŽāĻŖ āĻ•āϰ⧇āĨ¤ āĻ¸ā§āĻ¤ā§āϰ⧀ āĻŽā§ƒāĻ¤ā§āϝ⧁āĻļā§‹āϕ⧇ āĻ•āĻžāϤāϰ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āϞ⧜āĻžāχ āĻ•āϰ⧇ āĻŽā§āϝāĻžāĻ•āĻĄāĻžāĻĢ⧇āϰ āĻšāĻžāϤ⧇ āύāĻŋāĻšāϤ āĻšāύāĨ¤ āφāϰ āĻāĻ­āĻžāĻŦ⧇āχ āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋāϰ āĻŽā§āϝāĻžāĻ§ā§āϝāĻŽā§‡ āύāĻžāϟāĻ• āĻļ⧇āώ āĻšā§ŸāĨ¤

āĻĻāĻŋ āĻŽāĻžāĻ°ā§āĻšā§‡āĻ¨ā§āϟ āĻ…āĻŦ āϭ⧇āύāĻŋāϏ ā§§ā§Ģ⧝ā§Ŧ

Character :

Antonio (āĻ…ā§āϝāĻžāĻ¨ā§āĻŸā§‹āύāĻŋāĻ“) – Merchant of Venice

Bassanio (āĻŦāĻžāϏāĻžāύāĻŋāĻ“) – Friend of Antonio

Portia (āĻĒā§‹āĻ°ā§āĻļāĻŋ⧟āĻž) – A rich heiress of Belmont

Shylock(āĻļāĻžāχāϞāĻ•) – A rich money lender

āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ :

āωāχāϞāĻŋ⧟āĻžāĻŽ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋ⧟āĻžāϰ āĻāϰ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āĻ•āĻŽā§‡āĻĄāĻŋāĨ¤ āĻāϕ⧇ āĻŸā§āϰāĻžāĻœā§‡āĻĄāĻŋ āĻ•āĻŽā§‡āĻĄāĻŋāĻ“ āĻŦāϞāĻž āĻšā§ŸāĨ¤ āύāĻžāϟāĻ•āϟāĻŋāϰ āĻŦāĻŋāώ⧟āĻŦāĻ¸ā§āϤ⧁ āĻšāϞ⧋ Shylock-āϰ āĻļāĻžāĻ¸ā§āϤāĻŋāĨ¤ āĻļāĻžāχāϞāĻ• āĻšāϞ⧋ āĻŽāĻšāĻžāϜāύ (Money Lender)āĨ¤ āύāĻžāϟāϕ⧇ āϭ⧇āύāĻŋāϏ⧇āϰ āĻŦā§āϝāĻŦāϏāĻžā§Ÿā§€ Antonio āĻļāĻžāχāϞāϕ⧇āϰ āĻ•āĻžāϛ⧇ āϟāĻžāĻ•āĻž āϧāĻžāϰ āύāĻŋā§Ÿā§‡āĻ›āĻŋāϞ āĻāĻŦāĻ‚ āϚ⧁āĻ•ā§āϤāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ āϝ⧇ āϏāĻŽā§ŸāĻŽāϤ āϟāĻžāĻ•āĻž āĻļā§‹āϧ āύāĻž āĻ•āϰāϤ⧇ āĻĒāĻžāϰāϞ⧇ āĻ…ā§āϝāĻžāĻ¨ā§āĻŸā§‹āύāĻŋāĻ“āϰ āĻĻ⧇āĻš āĻĨ⧇āϕ⧇ Shylock, āĻāĻ• āĻĒāĻžāωāĻ¨ā§āĻĄ āĻŽāĻžāĻ‚āϏ āϕ⧇āĻŸā§‡ āύāĻŋāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āĨ¤

āĻ•āĻŋāĻ¨ā§āϤ⧁ Antonio āϏāĻŽā§ŸāĻŽāϤ āϟāĻ•āĻž āĻĒāϰāĻŋāĻļā§‹āϧ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻŋāĨ¤ āϚ⧁āĻ•ā§āϤāĻŋ āĻ…āύ⧁āϝāĻžā§Ÿā§€ āĻļāĻžāχāϞāĻ• āϤāĻžāϰ āĻĻ⧇āĻš āĻĨ⧇āϕ⧇ āĻāĻ• āĻĒāĻžāωāĻ¨ā§āĻĄ āĻŽāĻžāĻ‚āϏ āϕ⧇āĻŸā§‡ āύ⧇āĻ“ā§ŸāĻžāϰ āĻ•āĻĨāĻž āĻ•āĻŋāĻ¨ā§āϤ⧁ Shylock āϤāĻž āĻĒāĻžāϰ⧇ āύāĻŋāĨ¤ āĻ•āĻžāϰāĻŖ āϭ⧇āύāĻŋāϏ⧇āϰ āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āĻŦā§āϝāĻŦāϏāĻžā§Ÿ āĻĒā§‹āĻ°ā§āĻļāĻŋ⧟āĻž, āύāĻŋāϰāĻŋāĻļāĻž āĻ“ āĻŦāĻžāϏāĻžāύāĻŋāĻ“ āĻ…ā§āϝāĻžāĻ¨ā§āĻŸā§‹āύāĻŋāĻ“āϰ āϏāĻŽāĻ¸ā§āϝāĻž āϏāĻŽāĻžāϧāĻžāύ⧇ āώ⧜āϝāĻ¨ā§āĻ¤ā§āϰ āĻ•āϰ⧇ āĻāĻ• āĻŦāĻŋāϚāĻžāϰāĻ•āϕ⧇ āĻĻāĻŋā§Ÿā§‡ āϰāĻžā§Ÿ āĻŦ⧇āϰ āĻ•āϰ⧇āĻ›āĻŋāϞ āϝ⧇, āĻļāĻžāχāϞāĻ• āĻŽāĻžāĻ‚āϏ āϕ⧇āĻŸā§‡ āύāĻŋāϤ⧇ āĻĒāĻžāϰāĻŦ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāĻ• āĻŦāĻŋāĻ¨ā§āĻĻ⧁ āϰāĻ•ā§āϤāĻĒāĻžāϤ āĻ•āϰāϤ⧇ āĻĒāĻžāϰāĻŦ⧇ āύāĻžāĨ¤ āĻ…āϧāĻŋāĻ•āĻ¨ā§āϤ⧁ āĻļāĻžāχāϞāϕ⧇āϰ āĻŦāĻŋāϰ⧁āĻĻā§āϧ⧇ Antonio-āϕ⧇ āĻšāĻ¤ā§āϝāĻžāϰ āώ⧜āϝāĻ¨ā§āĻ¤ā§āϰ āĻāύ⧇ āϤāĻžāϰ āϏāĻŽāĻ¸ā§āϤ āϏāĻŽā§āĻĒāĻ¤ā§āϤāĻŋ āĻŦāĻžāĻœā§‡ā§ŸāĻžāĻĒā§āϤ āĻ•āϰ⧇ āύ⧇āĻ“ā§ŸāĻž āĻšāϞ⧋āĨ¤

Measure for Measure : Story in Brief (āĻŽā§‡āϜāĻžāϰ āĻĢāϰ āĻŽā§‡āϜāĻžāϰ āĻ—āĻ˛ā§āĻĒ āϏāĻ‚āĻ•ā§āώ⧇āĻĒ) :

Duke Vincentio is the duke of Vienna. He hands over the reign of govern-ment to a lord, Angelo. Angelo has an excellent reputation in Vienna. He is believed to be a man of strict principles. He is a strict administrator. He declares death sentence against Claudio. Isabella is the sister to Claudio. She gets a message from her brother. She appeals to Angelo for mercy. But Angelo shows his sexual desire for her. He offers her brother's life in exchange of her honour. He says that he has fallen in love with her and would like to possess her body. Then the Duke goes to prison to meet Claudio in disguise. He also meets the Provost. He saves the life of Claudio. But the false news of his death is given to Isabella. The Duke takes back the administration of his country. Isabella brings about the charges against Angelo. Mariana also brings about charges against Angelo.

At last, Angelo confesses his misdeeds to the Duke. So he has to marry Mariana. The Duke forgives Claudio and asks him to marry Juliet. He then proposes marriage to Isabella.

Under the Greenwood Tree

William Shakespeare

Under the greenwood tree

Who loves to lie with me,

And turn his merry note

Unto the sweet bird's throat,

Come hither, come hither, come hither:

Here shall he see

No enemy

But winter and rough weather.

Who doth ambition shun,

And loves to live i' the sun,

Seeking the food he eats,

And pleas'd with what he gets,

Come hither, come hither, come hither:

Here shall he see No enemy

But winter and rough weather.

āĻŽā§āĻ•ā§āϤ āφāĻ•āĻžāĻļ⧇āϰ āύāĻŋāĻšā§‡

āϕ⧇ āφāĻŽāĻžāϰ āϏāĻžāĻĨ⧇ āĻĨāĻžāĻ•āϤ⧇ āϚāĻžāĻ“

āĻāĻŦāĻ‚ āϝ⧇ āϤāĻžāϰ āφāύāĻ¨ā§āĻĻ⧇āϰ āĻ—āĻžāύ āĻ—āĻžāχāĻŦ⧇

āĻŽāĻŋāĻˇā§āϟāĻŋ āĻĒāĻžāĻ–āĻŋāϰ āϏāĻžāĻĨ⧇ āĻ•āĻŖā§āĻ  āĻŽāĻŋāϞāĻŋā§Ÿā§‡,

āĻāĻ–āĻžāύ⧇ āφāϏ⧋, āĻāĻ–āĻžāύ⧇ āφāϏ⧋, āĻāĻ–āĻžāύ⧇ āφāϏ⧋,

āĻāĻ–āĻžāύ⧇ āϏ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻŦ⧇

āϕ⧋āύ āĻļāĻ¤ā§āϰ⧁ āύ⧇āχ

āĻļ⧈āĻ¤ā§āϝ āφāϰ āϤ⧀āĻŦā§āϰ āφāĻŦāĻšāĻžāĻ“ā§ŸāĻž āĻŦā§āϝāϤ⧀āϤāĨ¤

āϝāĻžāϰ āωāĻšā§āϚāĻžāĻ•āĻžāĻ™ā§āĻ•ā§āώāĻž āύ⧇āχ,

āĻāĻŦāĻ‚ āϏ⧂āĻ°ā§āϝāϤāĻžāĻĒ āϏāχāϤ⧇ āĻĒāĻžāϰāĻŦ⧇

āĻ–āĻžāĻĻā§āϝ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻŦ⧇,

āĻāĻŦāĻ‚ āϏāĻ¨ā§āϤ⧁āĻˇā§āϟ āĻĨāĻžāĻ•āĻŦ⧇ āϝāĻž āĻĒāĻžāĻŦ⧇ āϤāĻžāχ āύāĻŋā§Ÿā§‡,

āĻāĻ–āĻžāύ⧇ āφāϏ⧋, āĻāĻ–āĻžāύ⧇ āφāϏ⧋,

āĻāĻ–āĻžāύ⧇ āφāϏ⧋, āĻāĻ–āĻžāύ⧇ āϏ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻŦ⧇

āϕ⧋āύ āĻļ⧁āĻ•ā§āϰ āύ⧇āχ

āĻļ⧈āĻ¤ā§āϝ āφāϰ āϤ⧀āĻŦā§āϰ āφāĻŦāĻšāĻžāĻ“ā§ŸāĻž āĻŦā§āϝāϤ⧀āϤāĨ¤

Love's Labour's Lost :

āĻāϰāĻĒāϰ āĻĻā§āĻŦāĻŋāĻ¤ā§€ā§Ÿ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āĻ•āĻŽā§‡āĻĄāĻŋ āĻšāĻšā§āϛ⧇ 'āϞāĻžāĻ­āϏ āϞ⧇āĻŦāĻžāϰāϏ āϞāĻ¸ā§āϟ' (Love's Labour's Lost) āĨ¤ āϰāϚāύāĻžāĻ•āĻžāϞ ā§§ā§Ģ⧝ā§Ģ āĻ–ā§āϰ⧀:, āĻ…āĻ­āĻŋāϜāĻžāϤ āϏāĻŽāĻžāĻœā§‡āϰ āϞāĻ°ā§āĻĄāĻ¸ā§ āĻ“ āϞ⧇āĻĄā§€āĻĻ⧇āϰ āύāĻŋā§Ÿā§‡ āĻŽāϜāĻžāĻĻāĻžāϰ āϞāϘ⧁-āϚāĻĒāϞ āĻ•āĻžāĻšāĻŋāύ⧀āĨ¤ āύāĻžāϟāĻ•āϟāĻŋ āĻ¸ā§āϝāĻžāϟāĻžā§ŸāĻžāϰ āϜāĻžāĻ¤ā§€ā§Ÿ āϰāϚāύāĻžāĨ¤ āϤāĻŦ⧇ āύāĻžāϟāϕ⧇āϰ āĻĒā§āϞāϟ āĻāĻ–āĻžāύ⧇ āĻ…āύ⧇āĻ• āĻ¸ā§āĻĒāĻˇā§āϟ āĻāĻŦāĻ‚ āϞāĻŋāϰāĻŋāĻ• āĻ•āĻŦāĻŋāϤāĻžāϰ āφāĻŦāĻŋāĻ°ā§āĻ­āĻžāĻŦ āĻĻ⧇āĻ–āĻž āϝāĻžāĻšā§āϛ⧇āĨ¤ āĻ•āĻžāĻšāĻŋāύ⧀ āĻšāĻšā§āϛ⧇, āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻ…āĻ¨ā§āϤāĻ°ā§āĻ—āϤ āύāĻžāĻ­āĻžāϰāĻžāϰ āϰāĻžāϜāĻž āĻ“ āϤāĻžāρāϰ āϤāĻŋāύ āϏāĻ­āĻžāϏāĻĻā§â€Œ āĻĒā§āϰāϤāĻŋāĻœā§āĻžāĻž āĻ•āϰāϞ⧇āύ, āϤāĻŋāύ āĻŦāĻ›āϰ āϤāĻžāρāϰāĻž āĻœā§āĻžāĻžāύāϚāĻ°ā§āϚāĻž āĻ•āϰāĻŦ⧇āύ āĻāĻŦāĻ‚ āϕ⧋āύ āύāĻžāϰ⧀āϰ āĻŽā§āĻ– āĻĻ⧇āĻ–āĻŦ⧇āύ āύāĻžāĨ¤ āϰāĻžāϜāϏāĻ­āĻžāϤ⧇āĻ“ āύāĻžāϰ⧀āϰ āĻĒā§āϰāĻŦ⧇āĻļ āύāĻŋāώāĻŋāĻĻā§āϧāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϰāĻžāϜāĻ•āĻžāĻ°ā§āϝ⧇ āĻĻā§‚āϤ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻāϞ⧇āύ āĻĢāϰāĻžāϏ⧀ āϰāĻžāϜāĻ•āĻ¨ā§āϝāĻžāĨ¤ āĻŦāĻžāĻ§ā§āϝ āĻšā§Ÿā§‡ āϰāĻžāϜāϏāĻ­āĻžā§Ÿ āϤāĻžāρāϕ⧇ āĻ¸ā§āĻŦāĻžāĻ—āϤ āϜāĻžāύāĻžāϤ⧇ āĻšāϞ⧋āĨ¤ āϰāĻžāϜāĻž āϰāĻžāϜāĻ•āĻ¨ā§āϝāĻžāϰ āĻĒā§āϰ⧇āĻŽā§‡ āĻĒ⧜āϞ⧇āύāĨ¤ āϏāĻ­āĻžāϏāĻĻ⧇āϰāĻž āĻĒ⧜āϞ⧇āύ āϰāĻžāϜāĻ•āĻ¨ā§āϝāĻžāϰ āϏāĻšāϚāϰ⧀āĻĻ⧇āϰ āĻĒā§āϰ⧇āĻŽā§‡āĨ¤ āĻ…āĻŦāĻļā§āϝ āĻĢāϰāĻžāϏ⧀ āϰāĻžāϜāĻžāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āϤ⧇ āĻāρāĻĻ⧇āϰ āĻŽāĻŋāϞāύ āĻāĻ• āĻŦāĻ›āϰ āĻĒāĻŋāĻ›āĻŋā§Ÿā§‡ āϗ⧇āϞāĨ¤

The Taming of the Shrew :

āϤ⧃āĻ¤ā§€ā§Ÿ āωāĻ˛ā§āϞ⧇āĻ–ā§āϝ āĻ•āĻŽā§‡āĻĄāĻŋ āύāĻžāϟāĻ• 'āĻĻā§āϝ āϟāĻŋāĻŽāĻŋāĻ‚ āĻ…āĻŦ āĻĻā§āϝ āĻļā§āϰ⧁' (The Taming of the Shrew)āĨ¤ ā§§ā§Ģā§¯ā§Ž āĻ–ā§āϰ⧀: āϰāϚāĻŋāϤ āύāĻžāϟāĻ• āĻšāĻŋāϏ⧇āĻŦ⧇ āĻāϰ āωāĻ˛ā§āϞ⧇āĻ– āĻĒāĻžāĻ“ā§ŸāĻž āϝāĻžā§ŸāĨ¤ āύāĻžāϟāϕ⧇ āĻāĻ•āϟāĻŋ āĻ•āĻžāĻšāĻŋāύ⧀āϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋā§Ÿā§‡ āφāϰ āĻāĻ•āϟāĻŋ āĻ•āĻžāĻšāĻŋāύ⧀ āĻŦāϞāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤ āĻĒā§āϰāĻĨāĻŽā§‡ āĻ•āĻžāĻšāĻŋāύ⧀āϟāĻŋ āĻĒāϰāĻŦāĻ°ā§āϤ⧀ āĻ•āĻžāĻšāĻŋāύ⧀āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āĻ¸ā§āĻŦāϰ⧂āĻĒ āĻŦā§āϝāĻŦāĻšā§ƒāϤ āĻšā§Ÿā§‡āϛ⧇āĨ¤ āĻāχ āĻĒāĻĻā§āϧāϤāĻŋ āĻļ⧇āĻ•ā§āϏāĻĒā§€ā§Ÿāϰ āύāĻžāϟāϕ⧇ āĻāĻ•āĻŦāĻžāϰāχ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇āϛ⧇āύ, āĻĒāϰ⧇ āĻ•āĻžāĻšāĻŋāύ⧀ āĻĒāϰāĻŋāĻŦ⧇āĻļāύ⧇āϰ āĻāχ āϰ⧀āϤāĻŋ āĻĒāϰāĻŋāĻ¤ā§āϝāĻ•ā§āϤ āĻšā§Ÿā§‡āϛ⧇āĨ¤ āĻāχ āύāĻžāϟāϕ⧇āϰ āĻ•āĻžāĻŦā§āϝāϧāĻ°ā§āĻŽāĻŋāϤāĻž, 'āωāχāύāĻŋāĻ­āĻžāϰāϏāĻŋāϟāĻŋ āωāχāϟāϏ'āĻĻ⧇āϰ āϰāϚāύāĻžāϕ⧇ āĻ¸ā§āĻŽāϰāĻŖ āĻ•āϰāĻžā§ŸāĨ¤ āύāĻžāϟāĻ•āϟāĻŋ āĻĢāĻžāĻ°ā§āϏ āϜāĻžāĻ¤ā§€ā§ŸāĨ¤ āĻ•āĻžāĻšāĻŋāύ⧀ āĻšāĻšā§āϛ⧇, āĻ•ā§āϰāĻŋāĻˇā§āĻŸā§‹āĻĢāĻžāϰ āĻļāĻ¸ā§āύāĻžāχ āύāĻžāĻŽā§‡ āĻāĻ• āĻ…āĻšā§‡āϤāύ āĻŽāĻĻā§āϝāĻĒāϕ⧇ āĻāĻ•āϜāύ āϞāĻ°ā§āĻĄ āĻļāĻŋāĻ•āĻžāϰ āĻĨ⧇āϕ⧇ āϘāϰ⧇ āĻĢ⧇āϰāĻžāϰ āĻĒāĻĨ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒā§‡ā§Ÿā§‡ āĻŽāϜāĻž āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āϏāĻ™ā§āϗ⧇āϰ āϞ⧋āĻ•āϜāύ⧇āϰ āϏāĻžāĻšāĻžāĻ¯ā§āϝ⧇ āϤāĻžāρāϰ āĻĻ⧁āĻ°ā§āĻ—āĻĒā§āϰāĻžāϏāĻžāĻĻ⧇ āϤ⧁āϞ⧇ āύāĻŋā§Ÿā§‡ āφāϏ⧇āύ āĻāĻŦāĻ‚ āϏ⧇āχ āĻŽāĻĻā§āϝāĻĒāχ āϝ⧇āύ āĻĻ⧁āĻ°ā§āĻ—āĻžāϧāĻŋāĻĒāϤāĻŋ āĻāĻŽāύāĻ­āĻžāĻŦ⧇ āϤāĻžāϰ āϏāĻ™ā§āϗ⧇ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰāϤ⧇ āφāĻœā§āĻžāĻž āĻĻ⧇āĻ“ā§ŸāĻž āĻšā§ŸāĨ¤ āĻœā§āĻžāĻžāύ āĻĢ⧇āϰāĻžāϰ āĻĒāϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāĻŋāϤ āĻ…āĻŦāĻ¸ā§āĻĨāĻžā§Ÿ āϏ⧇ āĻĒā§āϰāĻĨāĻŽā§‡ āĻŦāĻŋāĻ­ā§āϰāĻžāĻ¨ā§āϤ āĻšāϞ⧇āĻ“, āĻĒāϰ⧇ āϏ⧇ āĻ­āĻžāĻŦāϤ⧇ āφāϰāĻŽā§āĻ­āĻ•āϰ⧇ āϝ⧇ āϏ⧇ āϏāĻ¤ā§āϝāχ āĻĻ⧁āĻ°ā§āĻ—āĻžāϧāĻŋāĻĒāϤāĻŋ āϞāĻ°ā§āĻĄāĨ¤ āϤāĻžāϰ āĻŦāĻŋāύ⧋āĻĻāύ⧇āϰ āύāĻžāύāĻž āĻ†ā§Ÿā§‹āϜāύ āĻ•āϰāĻž āĻšā§ŸāĨ¤ āĻ…āĻ­āĻŋāύ⧇āϤāĻžāĻĻ⧇āϰ āĻĻāĻŋā§Ÿā§‡ āϤāĻžāϰ āϜāĻ¨ā§āϝ āĻāĻ•āϟāĻž āύāĻžāϟāĻ•āĻ“ āĻŽāĻžā§āϚāĻ¸ā§āĻĨ āĻ•āϰāĻž āĻšā§ŸāĨ¤ āϏ⧇āχ āύāĻžāϟāϕ⧇āϰ āĻ•āĻžāĻšāĻŋāύ⧀ āĻšāĻšā§āϛ⧇, āĻ…āĻ¤ā§āϝāĻ¨ā§āϤ āĻŦ⧁āĻĻā§āϧāĻŋāĻŽāĻžāύ āĻ“ āĻ¸ā§āĻĨāĻŋāϰāĻĒā§āϰāϤāĻŋāĻœā§āĻž āϭ⧇āϰ⧋āύāĻžāĻŦāĻžāϏ⧀ āϝ⧁āĻŦāĻ• āĻĒ⧇āĻŸā§āϰāϏāĻŋāĻ“ āĻāĻ• āϧāύ⧀ āĻĒāĻŋāϤāĻžāϰ āφāĻĻ⧁āϰ⧇ āĻĻāĻœā§āϜāĻžāϞ āĻŽā§‡ā§Ÿā§‡ āĻ•ā§āϝāĻžāĻĨāĻžāϰāĻŋāύāĻžāϕ⧇ āĻŦāĻŋā§Ÿā§‡ āĻ•āϰāϞ⧇āύāĨ¤ āĻŽā§‡ā§Ÿā§‡āϟāĻŋāϰ āύāĻžāύāĻž āĻ–ā§‡ā§ŸāĻžāϞ⧀āĻĒāύāĻž āĻ“ āĻœā§‡āĻĻāϕ⧇ āĻ•āĻ ā§‹āϰāϤāϰ āĻœā§‡āĻĻ āĻ“ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻĻā§āĻŦāĻžāϰāĻž āĻĒā§āϰāϤāĻŋāĻšāϤ āĻ•āϰāĻžāϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋā§Ÿā§‡āχ āĻ•ā§āϝāĻžāĻĨāĻŋāϰāĻŋāύāĻžāϰ āύāĻŦāϜāĻ¨ā§āĻŽ āϘāϟāϞāĨ¤ āĻāχāĻ­āĻžāĻŦ⧇āχ āĻŦāĻĻāĻŽā§‡āϜāĻžāĻœā§€ (Shrew) āĻŽāĻšāĻŋāϞāĻž āĻšā§Ÿā§‡ āωāĻ āϞ āĻ¸ā§āĻŦāĻžāĻŽā§€-āĻ…āύ⧁āĻ—āϤāĻž (Tamed) āϏ⧁āĻļā§€āϞāĻž āĻ—ā§ƒāĻšāĻŦāϧ⧂āĨ¤ āύāĻžāϟāĻ•āϟāĻŋāϰ āφāύāĻ¨ā§āĻĻāĻŽā§Ÿ āĻĒāϰāĻŋāĻŖāϤāĻŋ āϘāϟāϞāĨ¤

The Two Gentlemen of Verona (āϭ⧇āϰ⧋āύāĻžāϰ āĻĻ⧁āχāϜāύ āĻ­āĻĻā§āϰāϞ⧋āĻ•):

The Two Gentlemen of Verona is an early comedy. It is romantic and its theme is love. It deals with love, marriage and knightly adoration of the lady. Proteus and Valentine are two friends. Proteus falls in love with Julia. Valentine leaves Proteus and goes to Milan. Proteus' s father Antonio sends him to Milan. Going there, he finds that Valentine falls in love with Silvia, daughter to the Duke. Seeing Silvia, Proteus falls in love with her.

Titus Andronicus (āϤāĻŋāϤāĻžāϏ āĻā§āϝāĻžāĻ¨ā§āĻĄā§āϰ⧋āύāĻŋāĻ•āĻžāϏ) :

Titus Andronicus was written in 1592-93. It is published in 1594. It is the most lamentable Roman tragedy of Titus Andronicus. It is modelled after Seneca's Thyestes. It is full of sensational elements.

Julius Caesar (āϜ⧁āϞāĻŋ⧟āĻžāϏ āϏāĻŋāϜāĻžāϰ)

Shakespeare's tragic dramas begin with Julius Caesar (1599-1600). It is a Roman play. It deals with the murder of Caesar by the conspirators. The characters of the play are Brutus, Portia, Cassius and Antony. Brutus is a political idealist. Portia is his wife.

āĻļā§āϝāĻžāϞ āφāχ āĻ•āĻŽāĻĒā§‡ā§ŸāĻžāϰ āĻĻāĻŋ āϟ⧁ āĻ“ āϏāĻžāĻŽāĻžāϰāϏ āĻĄā§‡

āϏāĻžāϰāĻžāĻ‚āĻļ:

Shakespeare-āĻāϰ ā§§ā§ŽāύāĻ‚ āϏāύ⧇āϟāϟāĻŋ āϤāĻžāρāϰ āĻāĻ• āĻŦāĻ¨ā§āϧ⧁āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāϕ⧇ āύāĻŋā§Ÿā§‡ āϞ⧇āĻ–āĻžāĨ¤ āĻāĻ–āĻžāύ⧇ āĻ•āĻŦāĻŋ āϤāĻžāρāϰ āĻŦāĻ¨ā§āϧ⧁āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ—ā§āϰ⧀āĻˇā§āĻŽāĻ•āĻžāϞ⧀āύ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇āϰ āϏāĻžāĻĨ⧇ āϤ⧁āϞāύāĻž āĻ•āϰāϤ⧇ āĻ—āĻŋā§Ÿā§‡ āĻŦāϞ⧇āϛ⧇āύ āϝ⧇, āϤāĻžāρāϰ āĻŦāĻ¨ā§āϧ⧁āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇ āĻ—ā§āϰ⧀āĻˇā§āĻŽāĻ•āĻžāϞ⧀āύ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇āϰ āĻšā§‡ā§Ÿā§‡ āĻ…āϧāĻŋāĻ• āĻŸā§‡āĻ•āϏāχ āĻ“ āϕ⧋āĻŽāϞāĨ¤ āĻ•āĻžāϰāĻŖ āĻ—ā§āϰ⧀āĻˇā§āĻŽā§‡āϰ āĻā§œā§‹ āĻšāĻžāĻ“ā§ŸāĻž āĻĢ⧁āϞ⧇āϰ āϏ⧁āĻ¨ā§āĻĻāϰ āϕ⧁āρ⧜āĻŋāϗ⧁āϞ⧋āϕ⧇ āĻŦāĻŋāύāĻžāĻļ āĻ•āϰ⧇ āϤāĻžāĻ›āĻžā§œāĻž āĻ—ā§āϰ⧀āĻˇā§āĻŽā§‡āϰ āφāϝāĻŧ⧁āĻˇā§āĻ•āĻžāϞāĻ“ āĻ•āĻŽ, āϏ⧂āĻ°ā§āϝ⧇āϰ āϤāĻžāĻĒāĻ“ āĻĻāĻ—ā§āϧāĨ¤ āĻŽāĻžāĻā§‡ āĻŽāĻžāĻā§‡ āφāĻ•āĻžāĻļ āĻ•āĻžāϞ⧋-āĻŽā§‡āĻ˜ā§‡ āĻĸāĻžāĻ•āĻž āĻĨāĻžāϕ⧇āĨ¤ āĻ•āĻŦāĻŋ āĻŦāϞ⧇āϛ⧇āύ āϕ⧋āύ⧋ āĻŦāĻ¸ā§āϤ⧁āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāχ āĻĻā§€āĻ°ā§āϘ āĻĻāĻŋāύ āϟāĻŋāϕ⧇ āĻĨāĻžāϕ⧇ āύāĻž, āĻšā§Ÿ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āύāĻŋ⧟āĻŽā§‡, āύāĻž āĻšā§Ÿ āĻĻ⧁āĻ°ā§āϘāϟāύāĻžā§Ÿ āϤāĻž āύāĻˇā§āϟ āĻšā§Ÿā§‡ āϝāĻžā§ŸāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻžāρāϰ āĻŦāĻ¨ā§āϧ⧁āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ•āĻ–āύ⧋āχ āĻŽā§āϞāĻžāύ āĻšāĻŦ⧇ āύāĻžāĨ¤ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻāϏ⧇āĻ“ āĻ•ā§‡ā§œā§‡ āύāĻŋāϤ⧇ āĻĒāĻžāϰāĻŦ⧇ āύāĻž āϤāĻžāρāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāϕ⧇āĨ¤ āĻ•āĻžāϰāĻŖ āĻ•āĻŦāĻŋ āĻāχ āϏāύ⧇āĻŸā§‡āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϤāĻžāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāϕ⧇ āĻĢ⧁āϟāĻŋā§Ÿā§‡ āϤ⧁āϞ⧇āϛ⧇āύāĨ¤ āϝāϤāĻĻāĻŋāύ āĻŽāĻžāύ⧁āώ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϤ⧇ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāύ āĻ•āϰāĻŦ⧇, āϝāϤāĻĻāĻŋāύ āĻĨāĻžāĻ•āĻŦ⧇ āĻĻ⧇āĻ–āĻžāϰ āĻšā§‹āĻ–, āϤāϤāĻĻāĻŋāύ āϏ⧇ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻŦ⧇ āĻāχ āϏāύ⧇āĻŸā§‡āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ—āĻžāρāĻĨāĻžāĨ¤ āĻ…āĻ•ā§ƒāĻ¤ā§āϰāĻŋāĻŽ āφāĻŦ⧇āϗ⧇āϰ āĻļāĻŦā§āĻĻāϚ⧟āύ āĻĻā§āĻŦāĻžāϰāĻž āĻ•āĻŦāĻŋ āϤāĻžāρāϰ āĻŦāĻ¨ā§āϧ⧁āϰ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžā§Ÿā§€ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāϕ⧇ āϚāĻŋāϰāĻ¸ā§āĻĨāĻžā§Ÿā§€ āϰ⧁āĻĒ āĻĻāĻžāύ āĻ•āϰ⧇āϛ⧇āύ āĻāχ āϏāύ⧇āĻŸā§‡āĨ¤

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āωāĻ¤ā§āϤāϰāσ

A Midsummer night's dream āĻŦāχāϟāĻŋ āϞāĻŋāϖ⧇āϛ⧇āύ William Shakespeare. āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻĒā§āϰ⧇āĻŽāĻ­āĻŋāĻ¤ā§āϤāĻŋāĻ• āĻšāĻžāĻ¸ā§āϝāϰāϏāĻžāĻ¤ā§āύāĻ• Comedy āύāĻžāϟāĻ•

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āωāĻ¤ā§āϤāϰāσ

A Midsummer night's dream āĻŦāχāϟāĻŋ āϞāĻŋāϖ⧇āϛ⧇āύ William Shakespeare. āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻĒā§āϰ⧇āĻŽāĻ­āĻŋāĻ¤ā§āϤāĻŋāĻ• āĻšāĻžāĻ¸ā§āϝāϰāϏāĻžāĻ¤ā§āĻŽāĻ• Comedy āύāĻžāϟāĻ•āĨ¤

PRONAY TIRKI
PRONAY TIRKI
2 years ago
189
āĻļāĻŋāĻ•ā§āώāĻ•āĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻŋāĻļ⧇āώāĻ­āĻžāĻŦ⧇ āϤ⧈āϰāĻŋ

ā§§ āĻ•ā§āϞāĻŋāϕ⧇ āĻĒā§āϰāĻļā§āύ, āĻļā§€āϟ, āϏāĻžāĻœā§‡āĻļāύ āĻ“
āĻ…āύāϞāĻžāχāύ āĻĒāϰ⧀āĻ•ā§āώāĻž āϤ⧈āϰāĻŋāϰ āϏāĻĢāϟāĻ“āϝāĻŧā§āϝāĻžāϰ!

āĻļ⧁āϧ⧁ āĻĒā§āϰāĻļā§āύ āϏāĻŋāϞ⧇āĻ•ā§āϟ āĻ•āϰ⧁āύ — āĻĒā§āϰāĻļā§āύāĻĒāĻ¤ā§āϰ āĻ…āĻŸā§‹āĻŽā§‡āϟāĻŋāĻ• āϤ⧈āϰāĻŋ!

āĻĒā§āϰāĻļā§āύ āĻāĻĄāĻŋāϟ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āϜāϞāĻ›āĻžāĻĒ āĻĻ⧇āϝāĻŧāĻž āϝāĻžāĻŦ⧇
āĻ āĻŋāĻ•āĻžāύāĻž āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
Logo, Motto āϝ⧁āĻ•ā§āϤ āĻšāĻŦ⧇
āĻ…āĻŸā§‹ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻžāύ⧇āϰ āύāĻžāĻŽ
āĻ…āĻŸā§‹ āϏāĻŽāϝāĻŧ, āĻĒā§‚āĻ°ā§āĻŖāĻŽāĻžāύ
āĻĒā§āϰāĻļā§āύ āĻāĻĄāĻŋāϟ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āϜāϞāĻ›āĻžāĻĒ āĻĻ⧇āϝāĻŧāĻž āϝāĻžāĻŦ⧇
āĻ āĻŋāĻ•āĻžāύāĻž āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
Logo, Motto āϝ⧁āĻ•ā§āϤ āĻšāĻŦ⧇
āĻ…āĻŸā§‹ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻžāύ⧇āϰ āύāĻžāĻŽ
āĻ…āĻŸā§‹ āϏāĻŽāϝāĻŧ, āĻĒā§‚āĻ°ā§āĻŖāĻŽāĻžāύ
āĻ…āĻŸā§‹ āύāĻŋāĻ°ā§āĻĻ⧇āĻļāύāĻž (āĻāĻĄāĻŋāϟāϝ⧋āĻ—ā§āϝ)
āĻ…āĻŸā§‹ āĻŦāĻŋāώāϝāĻŧ āĻ“ āĻ…āĻ§ā§āϝāĻžāϝāĻŧ
OMR āϏāĻ‚āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āĻĢāĻ¨ā§āϟ, āĻ•āϞāĻžāĻŽ, āĻĄāĻŋāĻ­āĻžāχāĻĄāĻžāϰ
āĻĒā§āϰāĻļā§āύ/āĻ…āĻĒāĻļāύ āĻ¸ā§āϟāĻžāχāϞ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ
āϏ⧇āϟ āϕ⧋āĻĄ, āĻŦāĻŋāώāϝāĻŧ āϕ⧋āĻĄ
āĻ…āĻŸā§‹ āύāĻŋāĻ°ā§āĻĻ⧇āĻļāύāĻž (āĻāĻĄāĻŋāϟāϝ⧋āĻ—ā§āϝ)
āĻ…āĻŸā§‹ āĻŦāĻŋāώāϝāĻŧ āĻ“ āĻ…āĻ§ā§āϝāĻžāϝāĻŧ
OMR āϏāĻ‚āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āĻĢāĻ¨ā§āϟ, āĻ•āϞāĻžāĻŽ, āĻĄāĻŋāĻ­āĻžāχāĻĄāĻžāϰ
āĻĒā§āϰāĻļā§āύ/āĻ…āĻĒāĻļāύ āĻ¸ā§āϟāĻžāχāϞ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ
āϏ⧇āϟ āϕ⧋āĻĄ, āĻŦāĻŋāώāϝāĻŧ āϕ⧋āĻĄ
āĻāĻ–āύāχ āĻļ⧁āϰ⧁ āĻ•āϰ⧁āύ āĻĄā§‡āĻŽā§‹ āĻĻ⧇āϖ⧁āύ
ā§Ģā§Ļ,ā§Ļā§Ļā§Ļ+
āĻļāĻŋāĻ•ā§āώāĻ•
ā§Šā§Ļ āϞāĻ•ā§āώ+
āĻĒā§āϰāĻļā§āύāĻĒāĻ¤ā§āϰ
āĻŽāĻžāĻ¤ā§āϰ ā§§ā§Ģ āĻĒ⧟āϏāĻžā§Ÿ āĻĒā§āϰāĻļā§āύāĻĒāĻ¤ā§āϰ
ā§§ āĻ•ā§āϞāĻŋāϕ⧇ āĻĒā§āϰāĻļā§āύ, āĻļā§€āϟ, āϏāĻžāĻœā§‡āĻļāύ āϤ⧈āϰāĻŋ āĻ•āϰ⧁āύ āφāϜāχ

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