āωāĻ¤ā§āϤāϰāσ

Judicial Reform in Bangladesh: A Necessity for Good Governance


Judicial reform is a continuous process aimed at enhancing the efficiency, fairness, accessibility, and independence of the judicial system. In Bangladesh, a developing democratic nation, the need for robust judicial reform is paramount to upholding the rule of law, ensuring good governance, protecting human rights, and fostering economic development. A well-functioning judiciary is the bedrock of public trust and national stability.


The Bangladeshi judicial system faces several persistent challenges that necessitate comprehensive reform. These include a massive backlog of cases, leading to inordinate delays in justice delivery, often referred to as "justice delayed is justice denied." Other issues encompass a shortage of judges, inadequate infrastructure, limited use of modern technology, and concerns regarding transparency and accountability. Furthermore, ensuring access to justice for the poor and marginalized, who often lack the resources for prolonged legal battles, remains a critical area for improvement.


Key areas for judicial reform in Bangladesh include strengthening judicial independence, which was significantly advanced with the formal separation of the judiciary from the executive in 2007. However, continuous efforts are needed to ensure its functional autonomy. Improving case management through the introduction of Alternative Dispute Resolution (ADR) mechanisms like mediation and arbitration, along with the adoption of ICT for court proceedings and record-keeping, can significantly reduce case backlogs and expedite disposal.


Capacity building for judges, lawyers, and court staff is another crucial aspect. Regular training programs on modern legal practices, judicial ethics, and specialized areas of law can enhance the quality of judgments and overall judicial performance. Expanding legal aid services and awareness campaigns about legal rights can improve access to justice, especially for vulnerable populations. Moreover, investment in modern court facilities and digital infrastructure is essential for creating an environment conducive to efficient justice delivery.


Despite various initiatives, implementing judicial reforms faces challenges such as political will, budgetary constraints, and resistance to change from within the system. Sustained political commitment, adequate resource allocation, and a collaborative approach involving all stakeholders are vital for the successful implementation of reforms. The ultimate goal is to establish a judiciary that is truly independent, efficient, transparent, and accessible to every citizen, thereby reinforcing public confidence and cementing the foundations of a just society.

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āϏāĻŽā§ƒāĻĻā§āϧāĻŋāϰ āύāĻžāĻ—āĻžāϞ āĻĒāĻžāĻ“ā§ŸāĻžāϰ āφāĻļāĻžā§Ÿ āĻ āĻ…āĻžā§āϚāϞ⧇āϰ āĻŦāĻšā§ āĻŽāĻžāύ⧁āώ āϰāĻžāĻŦāĻžāϰ⧇āϰ āύ⧌āĻ•āĻžā§Ÿ āĻ•āϰ⧇ āĻ­ā§‚āĻŽāĻ§ā§āϝāϏāĻžāĻ—āϰ āĻĒāĻžā§œāĻŋ āĻĻāĻŋā§Ÿā§‡ āχāωāϰ⧋āĻĒ⧇āϰ āωāĻĒāϕ⧂āϞ⧇ āĻ—āĻŋā§Ÿā§‡ āĻĒā§āϰāĻžāĻŖ āĻšāĻžāϰāĻžāĻšā§āϛ⧇āĨ¤ āĻ…āĻĨāϚ ā§Ģā§Ļā§Ļ āĻŦāĻ›āϰ āφāϗ⧇ āĻāĻŽāύ āϏāĻŽā§ƒāĻĻā§āϧāĻŋāϰ āϞ⧋āϭ⧇ āχāωāϰ⧋āĻĒ⧇āϰ āĻ­āĻžāĻ—ā§āϝāĻžāĻ¨ā§āĻŦ⧇āώ⧀āϰāĻž āĻ•āĻžāϠ⧇āϰ āϜāĻžāĻšāĻžāĻœā§‡ āĻœā§€āĻŦāύ⧇āϰ āĻā§āρāĻ•āĻŋ āύāĻŋā§Ÿā§‡ āĻšāĻžāϜāĻžāϰ āĻšāĻžāϜāĻžāϰ āĻŽāĻžāχāϞ āĻĒāĻžā§œāĻŋ āĻĻāĻŋā§Ÿā§‡ āĻāĻļāĻŋ⧟āĻž āĻ“ āĻ­āĻžāϰāϤāĻŦāĻ°ā§āώ⧇ āϛ⧁āĻŸā§‡ āφāϏāϤāĨ¤ āĻ—āϤ ā§Ģā§Ļā§Ļ āĻŦāĻ›āϰ⧇āϰ āĻĒāĻžāϞāĻžāĻŦāĻĻāϞ⧇ āϏāĻŽā§ƒāĻĻā§āϧāĻŋāϰ āĻ•āĻŽā§āĻĒāĻžāϏ ā§§ā§Žā§Ļ āĻĄāĻŋāĻ—ā§āϰāĻŋ āϘ⧁āϰ⧇ āχāωāϰ⧋āĻĒ⧇āϰ āĻĻāĻŋāϕ⧇ āϚāϞ⧇ āϗ⧇āϛ⧇āĨ¤ āĻ•ā§Ÿā§‡āĻ•āĻļ āĻŦāĻ›āϰ āĻœā§ā§œā§‡ āϏ⧇āχ āĻĒāĻžāϞāĻžāĻŦāĻĻāϞ⧇āϰ āĻĒā§āϰāϧāĻžāύ āϖ⧇āĻ˛ā§‹ā§ŸāĻžā§œ āĻ›āĻŋāϞ āĻ¸ā§āĻĒ⧇āύ, āĻĒāĻ°ā§āϤ⧁āĻ—āĻžāϞ, āĻšāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄ, āĻĢā§āϰāĻžāĻ¨ā§āϏ āĻ“ āχāĻ‚āĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻŽāϤ āĻĻ⧇āĻļāϗ⧁āϞ⧋āĨ¤ āĻāϗ⧁āϞ⧋āϰ āĻŽāĻ§ā§āϝ⧇ āĻļ⧇āώ āĻĒāĻ°ā§āĻŦ⧇ āĻŽāĻžāϠ⧇ āύ⧇āĻŽā§‡āĻ“ āϏāĻŦāĻšā§‡ā§Ÿā§‡ āϏāĻĢāϞ āϖ⧇āĻ˛ā§‹ā§ŸāĻžā§œ āĻšā§Ÿā§‡ āωāϠ⧇āĻ›āĻŋāϞ āχāĻ‚āĻ˛ā§āϝāĻžāĻ¨ā§āĻĄāĨ¤ 

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āχāĻ‚āϰ⧇āϜāĻŋ āϏāĻžāĻšāĻŋāĻ¤ā§āϝ⧇ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϚāϰāĻŋāĻ¤ā§āϰ

Famous Characters in Literature

āĻ•āĻŋāϛ⧁ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āĻ•āĻ°ā§āĻŽā§‡āϰ āϚāϰāĻŋāĻ¤ā§āϰ āύāĻŋāĻšā§‡ āĻĻā§‡ā§ŸāĻž āĻšāϞ⧋:

(1) āĻ•āĻŋāĻ‚ āϞāĻŋ⧟āĻžāϰ (King Lear) āύāĻžāϟāϕ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋ āĻšāϞ⧋-

  1. LEAR, king of Britain
  2. Goneril, Regan, Cordelia-Three daughters to King Lear
  3. King of France, husband of Coredelia
  4. Earl of Gloucester
  5. Edgar, son of Gloucester
  6. Edmund, illegitimate son to Glucester
  7. Fool, a jester to the court of King Lear but a wise person.

āĻŦāĻžāĻ‚āϞāĻž āϏāĻžāĻšāĻŋāĻ¤ā§āϝ⧇ āĻĻā§āĻŦāĻŋāĻœā§‡āĻ¨ā§āĻĻā§āϰāϞāĻžāϞ āϰāĻžā§Ÿā§‡āϰ āϞ⧇āĻ–āĻž āĻļāĻžāϜāĻžāĻšāĻžāύ āύāĻžāϟāϕ⧇āϰ āĻĻāĻŋāϞāĻĻāĻžāϰ āύāĻžāĻŽāĻ• āϚāϰāĻŋāĻ¤ā§āϰ āĻ•āĻŋāĻ‚ āϞāĻŋ⧟āĻžāϰ āύāĻžāϟāϕ⧇āϰ Fool āύāĻžāĻŽāĻ• āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āϏāĻžāĻĨ⧇ āĻ…āύ⧇āĻ• āĻŽāĻŋāϞ āĻ°ā§Ÿā§‡āϛ⧇āĨ¤ āĻĻ⧁āϜāύāχ āϝ⧇ āĻĄāĻžā§ŸāĻžāϞāĻ— āĻĒ⧇āĻļ āĻ•āϰ⧇ āϏ⧇āϗ⧁āϞ⧋ āϖ⧁āĻŦāχ āϰāϏāĻŋāĻ• āϟāĻžāχāĻĒ⧇āϰ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŦ⧁āĻĻā§āϧāĻŋāĻĻā§€āĻĒā§āϤāĨ¤

(2) āϰ⧋āĻŽāĻŋāĻ“ āĻāĻ¨ā§āĻĄ āϜ⧁āϞāĻŋā§Ÿā§‡āϟ āύāĻžāϟāϕ⧇āϰ āĻĒ⧁āϰ⧋ āύāĻžāĻŽ āϕ⧀? āφāĻŽāĻŋ āĻŦāϞāϤ⧇ āϚāĻžāĻšā§āĻ›āĻŋ āύāĻžāĻŸā§āϝāĻ•āĻžāϰ⧇āϰ āĻĻā§‡ā§ŸāĻž āύāĻžāĻŽāĨ¤ The Most Excellent and Lamentable Tragedy of Romeo and Juliet'

āύāĻžāϟāϕ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋ āĻšāϞ⧋-

  1. Montague, head of a Veronses family at feud with the Capulets
  2. Lady Montague
  3. Romeo, Montague's son
  4. Capulet, head of a Veronese family at feud with the Montague
  5. Lady Capulet
  6. Juliet, Capulet's daughter
  7. Tybalt, Lady Capulet nephew

(3) The Tragedy of Hamlet-Prince of Denmark -āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋

  1. The Ghost āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āĻŦāĻžāĻŦāĻž King Hamlet āĻāϰ āĻĒā§āϰ⧇āϤāĻžāĻ¤ā§āĻŽāĻžāĨ¤ āĻŦāĻžāĻŦāĻž āĻ“ āϛ⧇āϞ⧇āϰ āĻāĻ•āχ āύāĻžāĻŽ āĻ›āĻŋāϞāĨ¤
  2. Hamlet āĻĄā§‡āύāĻŽāĻžāĻ°ā§āϕ⧇āϰ āϰāĻžāϜāĻĒ⧁āĻ¤ā§āϰāĨ¤ āϜāĻžāĻ°ā§āĻŽāĻžāύāĻŋāϰ āωāχāĻŸā§‡āύāĻŦāĻžāĻ°ā§āϗ⧇ āĻĒ⧜āĻžāĻļ⧁āύāĻž āĻ•āϰāϤ⧋āĨ¤ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āϤāĻžāϰ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—ā§€ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋāĨ¤
  3. Claudius- āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āϚāĻžāϚāĻžāĨ¤ āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āĻŦāĻžāĻŦāĻžāϕ⧇ āĻŽā§‡āϰ⧇ āϏ⧇ āĻĒāϰāĻŦāĻ°ā§āϤ⧀āϤ⧇ āϰāĻžāϜāĻž āĻšā§Ÿ āĻāĻŦāĻ‚ āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āĻŽāĻž āϗ⧇āϰāϟ⧁āĻĄāϕ⧇ āĻŦāĻŋā§Ÿā§‡ āĻ•āϰ⧇āĨ¤
  4. Gertrude -āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āĻŽāĻžāĨ¤
  5. Horatio-āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āϏāĻšāĻĒāĻžāĻ ā§€ āĻāĻŦāĻ‚ āϏāĻŦāϚāĻžāχāϤ⧇ āĻŦāĻŋāĻļā§āĻŦāĻ¸ā§āϤ āĻŦāĻ¨ā§āϧ⧁āĨ¤ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻŽā§Ÿ āϤāĻžāϕ⧇ āωāĻĻā§āĻĻ⧇āĻļā§āϝ āĻ•āϰ⧇ āĻšā§‡āĻŽāϞ⧇āϟ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āĻĄāĻžā§ŸāĻžāϞāĻ— āĻĻā§‡ā§ŸāĨ¤ āϟāĻŋ.āĻāϏ.āĻāϞāĻŋ⧟āϟ āĻāχ āĻĄāĻžā§ŸāĻžāϞāĻ—āϟāĻŋāϕ⧇ āϖ⧁āĻŦāχ āĻĒāĻ›āĻ¨ā§āĻĻ āĻ•āϰāϤ⧇āύāĨ¤
    If thou didst ever hold me in thy heart Absent thee from felicity for a while And draw thy breath in this harsh world To tell my story
  6. Guildenstern and Rosencrantz-āĻāϰāĻž āĻĻ⧁āϜāύāĻ“ āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āĻāĻ•āϏāĻŽā§Ÿ āϏāĻšāĻĒāĻžāĻ ā§€ āĻ›āĻŋāϞāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻšā§‡āĻŽāϞ⧇āĻŸā§‡āϰ āϚāĻžāϚāĻžāϰ āĻĒā§āϰāϰ⧋āϚāύāĻžā§Ÿ āĻĒāϰāĻŦāĻ°ā§āϤ⧀āϤ⧇ āĻšā§‡āĻŽāϞ⧇āϟāϕ⧇ āĻšāĻ¤ā§āϝāĻžāϰ āϜāĻ¨ā§āϝ āϗ⧁āĻĒā§āϤāϚāϰ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻ•āĻžāϜ āĻ•āϰ⧇āĨ¤

(4) Macbeth-āύāĻžāϟāϕ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋ āĻšāϞ⧋-

  1. Macbeth-āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻšāĻšā§āϛ⧇ āĻāχ āύāĻžāϟāϕ⧇āϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰāĨ¤ āϤāĻŋāύāĻŋ āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻĒā§āϰāϧāĻžāύ āϏ⧇āύāĻžāĻĒāϤāĻŋāĨ¤ āĻĒāϰāĻŦāĻ°ā§āϤ⧀āϤ⧇ āϤāĻŋāύāĻŋ āϰāĻžāϜāĻž āĻĄāĻžāύāĻ•āĻžāύāϕ⧇ āĻšāĻ¤ā§āϝāĻž āĻ•āϰ⧇ āĻ…āĻŦ⧈āϧāĻ­āĻžāĻŦ⧇ āϰāĻžāϜāĻž āĻšāύāĨ¤
  2. Lady Macbeth-āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ⧇āϰ āĻ¸ā§āĻ¤ā§āϰ⧀āĨ¤ āϤāĻžāϰ āĻ…āϤāĻŋ āϞ⧋āϭ⧇āϰ āĻ•āĻžāϰāϪ⧇āχ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻ§ā§āĻŦāĻ‚āϏ āĻšā§ŸāĨ¤
  3. Duncan-āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āϰāĻžāϜāĻžāĨ¤ āϤāĻžāϕ⧇ āĻšāĻ¤ā§āϝāĻž āĻ•āϰ⧇ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻ…āĻŦ⧈āϧāĻ­āĻžāĻŦ⧇ āϰāĻžāϜāĻž āĻšāύāĨ¤
  4. Banquo-āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻāĻ•āϜāύ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻŦā§āϝāĻ•ā§āϤāĻŋāĨ¤
  5. Macduff-āĻ¸ā§āĻ•āϟāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄā§‡āϰ āĻāĻ•āϜāύ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻŦā§āϝāĻ•ā§āϤāĻŋāĨ¤
  6. Witches-āĻāχ āύāĻžāϟāϕ⧇ āϤāĻŋāύāϜāύ āĻĄāĻžāχāύāĻŋ āĻĨāĻžāϕ⧇ āϝāĻžāĻĻ⧇āϰ āϚāĻžāϤ⧁āĻ°ā§āϝāĻĒā§‚āĻ°ā§āĻŖ āĻ•āĻĨāĻžā§Ÿ āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻŦāĻŋāĻ­ā§āϰāĻžāĻ¨ā§āϤ āĻšā§Ÿā§‡ āφāĻ¸ā§āϤ⧇ āφāĻ¸ā§āϤ⧇ āĻ§ā§āĻŦāĻ‚āϏ⧇āϰ āĻĻāĻŋāϕ⧇ āϝāĻžā§ŸāĨ¤

(5) Othello' or The Moor of Venice

  1. Othello-āĻāχ āύāĻžāϟāϕ⧇āϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰāĨ¤ āϤāĻŋāύāĻŋ āĻ•āĻžāϞ⧋ āĻ›āĻŋāϞ⧇āύ āϤāĻŦ⧇ āĻ…āĻ¤ā§āϝāĻ¨ā§āϤ āϏāĻžāĻšāϏ⧀ āϝ⧋āĻĻā§āϧāĻž āĻ›āĻŋāϞ⧇āύāĨ¤ āϭ⧇āύāĻŋāϏ⧇āϰ āĻāĻ•āϜāύ āĻœā§‡āύāĻžāϰ⧇āϞ āĻ›āĻŋāϞ⧇āύāĨ¤
  2. Desdemona-āĻ“āĻĨ⧇āϞ⧋ āύāĻžāϟāϕ⧇āϰ āĻĒā§āϰāĻĨāĻŽāĻĻāĻŋāϕ⧇āχ āϤāĻžāϕ⧇ āĻŦāĻŋā§Ÿā§‡ āĻ•āϰ⧇āĨ¤ āϤāĻŋāύāĻŋ āύāĻžāϟāϕ⧇āϰ āύāĻžā§ŸāĻŋāĻ•āĻžāĨ¤ āĻ…āĻ¤ā§āϝāĻ¨ā§āϤ āϏ⧁āĻ¨ā§āĻĻāϰ⧀ āĻ›āĻŋāϞ⧇āύāĨ¤
  3. Cassio-āĻ“āĻĨ⧇āϞ⧋āϰ āϞ⧇āĻĢāĻŸā§‡āĻ¨ā§āϝāĻžāĻ¨ā§āϟāĨ¤
  4. Iago-āĻ“āĻĨ⧇āϞ⧋āϰ āĻŦāĻŋāĻļā§āĻŦāĻ¸ā§āϤ āϏāĻšāϚāϰāĨ¤ āύāĻžāϟāϕ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ⧇ āĻāϤ āĻ–āĻžāϰāĻžāĻĒ āϚāϰāĻŋāĻ¤ā§āϰ āφāϰ āĻĒāĻžāĻ“ā§ŸāĻž āϝāĻžā§Ÿ āύāĻžāĨ¤
  5. Duke of Venice-āϭ⧇āύāĻŋāϏ⧇āϰ āĻĒā§āϰāϧāĻžāύāĨ¤

Important Characters of Some Literary Pieces

Writers

Works

Characters

AeschylusAgamemnon (Tragedy)Agamemnon, Clytemnestra, Cassandra Aegisthus
AristophanesThe Frogs (Stage Drama)Dionysus (God), Xanthias, Euripides Aeschylus, Herachles, Charon
Alexander PopeThe Rape of the Lock (Mock-epic)Belinda, Baron, Ariel (God), Clarissa
Arthur MillerThe Death of a Sales Man (Play)Willy Loman, Biff Loman, Howard Wagner, Linda Loman, Happy Loman Charley, Ben
Anita DesaiGames at Twilight (Short story)Ravi, Raghu, Mother
Ben JohnsonVolpone (Play)Volpone, Mosca, Voltore, Corvino Bonario, Corbaccio
Christopher MarloweDr. Faustus (Morality play)Faustus, Mephistopheles, Cornelius, Good Angel, Evil Angel
Charles DickensGreat Expectations (Novel)Pip, Joe Gargery, Abel Magwitch, Miss Havisham, Estella
Oliver Twist (Novel)Oliver Twist, Fagin, Bill Sikes, Alexe Alexandrovich Karenin
A Tale of Two Cities (Novel)Dr. Manette, Sydney Carton, Lucie Charles Darnay, Madame Defarge
Charlotte BronteJane Eyre (Novel)Jane Eyre, Edward Rochester, Georgiana Reed, Bertha Mason, Helen Burns.
Daniel DefoeRobinson Crusoe (Novel)Robinson Crusoe, Friday
D.H. LawrenceSons and Lovers (Novel)Paul Morel, Gertrude Morel, William Morel, Annie Morel, Arthur Morel, Walter Morel, Miriam
Earnest HemingwayA Farwell to Arms (Novel)Lieutenant Frederic Henry, Catherine Barkley, Helen Ferguson, Lieutenan Rinaldi
The Sun also Rises (Novel)Robert Cohn, Lady Brett Ashley, Jake Barnes, Pedro Romero
EuripidesAlcestisAlcestis,, Admetus, Heracles, Pher'es
E.M. ForsterPassage to India (Novel)Dr. Aziz, Cyril Fielding, Miss Adela Quested, Ronny Heaslop, Professor Godbole, Hamidullah, Mahmoud Ali Stella Moore
Emily Bronte

Wuthering Heights

(Novel/Revenge story)

Catherine, Heathcliff, Hindley, Edgar Isabella
Edmund SpenserThe Faerie Queene (Epic)Red Cross Knight, Una, The Dwarf, Arc imago, Morpheus, Fidessa (or Duessa),
George EliotSilas Marner (Novel)Silas Marner, Eppie, Aaron William Dane Dunstan Cass, Godfrey, Cass, Nancy
G.B. ShawArms and the man (Comedy)Captain Bluntschli, Raina Petkofi Catherine Petkoff, Louka, Nicola
Man and Superman (Drama)Ann, Tanner, Octavius, Ramsden
HomerThe Iliad (Epic)Helen, Menelaus, Agamemnon, Achillz Hector, Ajax, Patroclus, Priam, Paris
The Iliad (Epic)Gods Zeus. Thetis, Ares, Aphrodite Apollo. Athene
Henry FieldingJoseph Andrews (Novel)Joseph. Adam, Lady Booby, Fanny, Betty
Tom Jones (Novel)All worthy, Jenny Jones, Tom, Partidge Sophia Western, Lady Be Hasten
Henric IbsenA Doll's House (Drama)Nora, Torvald, Christine, Krogstad
Herman Melville

Bartleby the Scrivener

(Short story)

BartlebyMoby-Dick (Novel)Ahab
Joseph ConradHeart of Darkness (Novel)Marlow, Kurtz. The Manager, The Account
John MiltonParadise Lost (Epic)Adam. Eve. Satan. Beelbub, Mammon
Samson Agonistes (TragedySamson. Manoa. Dalila
John Webster

The Duchess of Malfi

(Revenge Tragedy)

Bosola. Ferdinand, Cardinal
Jonathan SwiftGulliver's Travels (Satire)Lafnuel Gulliver. Belfuscudian Brobdingnagians. Glumdalclitch. Houyhnhnms, Laputans. Lilliputians Yahoos, Lord Munodi.
J. M. SyngeRiders to the Sea (Play)Maurya, Bartley, Cathieeo, Nora Synge
Jane AustenPride and Prejudice (Novel)Mr. Darcy, Elizabeth Bennet, Jane Bannet, Charles Bingley, Mr. WilliamCoiiins, Kitty Bennet, Lydia Bennet
John BunyanPilgrim's Progress (Allegory)Christian
Lord ByronDon Juan (Epic)Don Juan, Donna Inez, Donna Julia, Dor Alfonso
Leo TolstoyAnna Karenia (Novel)Anna Karenian, Alexis Karenin, Count Vronsky
Mark Twain

The Adventure of Huckleberry Finn

(Novel)

Huck, Jim
Nathanial Hawthorne

The Scarlet Latter (Novel)

Young Goodman Brown

Hester Prme, Pearl, Dimmesdale
(Long short story)Young Goodman Brown, Faith
O'HenryHearts and Hands (Short story)Mr. Easton, Miss, Faircfiild, Mr. Marshal The Ambassador.
O'NeillLong Day's Journey Into Night (Drama)James Tyrone, Mary, Edmund, Jamie
The Hairy Ape (Satire)Yank, Mildred Douglas. Long
SophoclesOedipus (Tragic play)Oedipus, Creon, Teiresias, Jocasta, Laius Poljbus
Antigone (Tragedy)Antigone. Ismene, Haemon, Teiresias Chorus
Saul BellowSeize the Day (Novel)Tommy Wilhelm. Tamkin. Mrgaret, Adler
TennysonLocksley Hall (Poem)The Speaker, His Father, His Tyrannical Uncle, His Cousin Amy
Morte D'Arthur (Poem)King Arthur, Hir Bedivere, The Knights
Tithonus (Poem)Tithonus, Aurora (Goddess).
Thomas HardyTess of the D'urbervilles (Novel)Tess Durbeyfield, Alec D'urberville, Ange Clare,
Tess of the D'urbervilles (Novel)Clym, Eustacia, Mrs. Yeobright Thomasin, Wildeve
Tony MorrisonThe Bluest Eye (Novel)Pecola Breedlove, Claudia Macteer Cholly Breedlove. Sammy Breedlove
Virgil

The Aeneid (Epic)

The Aeneid (Epic)

Gods - Juno, Neptune, Venus, Cupid Jupiter

Aeneas, Dido

Virginia WoolfMrs. Dalloway (Novel)Clarissa Dalloway, Peter Walsh, Richard Dalloway
William ShakespeareHamlet (Tragedy)Hamlet, Ophelia, Claudius, Gertrude Horatio
Macbeth (Tragedy)Macbeth, Lady Macbeth, Duncan, Banquo Three Witches.
Twelfth Night (Comedy)"Viola, Duke Orsino, Maivolio, Olivia Sebastian
The Tempest (Comedy)Prospero, Alonso, Antonio, Gonzalo Miranda, Ferdinand, Caliban, Ariel
Marchant of VeniceShylock, Portia, Antonio, Basaanio Jessica
Othello (Tragedy)Othello, Desdemona, Cassio, Emilia Rodergo, lago.
King Lear (Tragedy)King Lear, Goneril, Regan, Cordelia Kent
Julius Caesar (Tragedy)Julius Caesar, Brutus, Antony, Cassius Octavius, Culpurnia Portia
Marchant of Venice (Comedy)Shylock, Bassanio, Antonio, Portia, Jessica

As You Like It

(Romantic Comedy)

Measure For Measure (Comedy)

Rosalind, Orlando, Oliver, Phebe, William Jaques

Isabella Angelo, Claudio, Juliet, Vincentia

A Midsummer Night's Dream (Drama)

Romeo and Juliet (Tragedy)

Theseus, Hippolyta Lysander, Demetrius Hermia, Hellena, Oberon

Paris, Juliet, Romeo, Tybalt, Laurence Benvolio, Montague

William CongreveThe Way of the World (Play)Mirabell. Millamant, Fainall, Mrs, Fainall Lady Wishfort.
William WordsworthMichael (Poem)Michael, Luke, Isabel
W.S Maugham

The Ant and Grasshopper

(Short Story)

George, Tom
William Gerald GoldingLord of the Files (Novel)Ralph, Piggy, Jack Merridexv, Simon

Related Question

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āωāĻ¤ā§āϤāϰāσ

They all rejected that idea of the Captain's.

= They all rejected the captain's idea."

Rifat
Rifat
3 years ago
722
āωāĻ¤ā§āϤāϰāσ We spent the evening as in the old days.

In formal English, the conjunction "as" is used to introduce a clause or a phrase that indicates a comparison or the manner in which something is done. In this sentence, "as in the old days" describes how the evening was spent, implying "in the way it was done in the old days."

Conversely, "like" is primarily used as a preposition to mean "similar to" or "in the manner of," and is typically followed by a noun, pronoun, or noun phrase. While "like" is often used informally in place of "as" or "as if," it is generally considered incorrect in standard written English when introducing a clause or an adverbial phrase of comparison.

For example:

        
  • Incorrect: She sings like she is a professional.
  •     
  • Correct: She sings as if she is a professional.
  •     
  • Correct: She sings like a professional. (Here, 'like' is a preposition followed by a noun phrase 'a professional'.)

Therefore, "as in the old days" is the grammatically correct and more formal choice for this context.

Satt AI
Satt AI
6 days ago
733
āωāĻ¤ā§āϤāϰāσ

He was accused of a crime he did not commit. 

BIJON RAY SHUVO
BIJON RAY SHUVO
2 years ago
600
āωāĻ¤ā§āϤāϰāσ


In English grammar, the verb 'call' can be used in several ways, and its usage dictates whether a preposition is required. When 'call' means 'to telephone someone', it functions as a transitive verb and directly takes an object without any preposition. For example, one would say "Please call Mr. Khan" to mean telephoning him.

Conversely, if 'call' is used to mean 'to pay a brief visit to someone', it typically forms a phrasal verb with the preposition 'on', as in "to call on someone". For instance, "We will call on our neighbours tomorrow."

Given the structure "Please call – Mr. Khan tomorrow morning", the most common and grammatically appropriate interpretation is that Mr. Khan should be telephoned. Therefore, no preposition is needed in the blank, and the sentence correctly reads "Please call Mr. Khan tomorrow morning."

Satt AI
Satt AI
6 days ago
741
āωāĻ¤ā§āϤāϰāσ with

The correct preposition to use when agreeing or disagreeing with a person is "with".

        
  • Agree with: Used when you have the same opinion as a person.
    Example: I agree with your friend.
  •     
  • Agree to: Used when you accept a proposal, plan, or suggestion.
    Example: She agreed to my terms.
  •     
  • Agree on: Used when people reach a consensus about a specific matter after discussion.
    Example: We agreed on a new strategy.
  •     
  • Agree about/upon: Used when discussing a general topic or subject.
    Example: They agreed about the importance of education.
Satt AI
Satt AI
6 days ago
512
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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