Make it better and summarize the text "While the poet and dramatist Dwizendralal Roy (1863-1913 AD) emerged in Bengali drama with his first comedy-drama (1815 AD), the eminent and gifted dramatist and drama producer Girishchandra Ghosh (1844-1912 AD) through his immense talent enriched the entire theater of Bengal. He kept it bright.

Dwijendralal accomplished in English education. He is a Londoner. And “I was addicted to reading poetry and plays since childhood. ... I read Shelley continuously while I was away and recovered from it. I constantly read Wordsworth and Shakespeare over and over again; And I used to memorize the parts of the last poet's plays which I felt were the best in poetry.

“Before going to London, I had just seen the play 'Hemlata' and the play 'Nildarpan', and a comedy called 'Sadhbar Ekadashi' and 'Granthakar', performed by a well-known group of actors from Krishnanagar. And I see some partial acts of Addison's Cato and Shakespeare's Julius Caesar.  (Page: 120)

From that time I got addicted to acting. I went to abroad and saw many performances in many theaters. And gradually acting became dearer to me.

“On my return from abroad, I saw performances in the theaters of Calcutta and that was when I was introduced to plays written in Bengali.” 

Dwijendralal's self-professed love of Shakespeare and dramatization must first be taken as the main evidence for exploring the Shakespearean influence in most of his plays. Therefore, at the beginning of our discussion, we have to know that: Dwijendralal's entire drama work a. Comedy, b. Drama, c. social and d. Historically this is divided into four parts. And his total number of dramas-comedies etc. is eighteen.

In the creation of this amount of plays and farces etc., the rassinching that took place in Dwijendra-Manobhoomi was largely inspired by the style of Western drama, tragedy-consciousness, and even drama dialogue. Again, the bulk of that juice came from Shakespeare's play-partners. Leaving for higher education, standing in Shakespeare's birthplace, Dwijendralal paid tribute to Shakespeare in an emotional voice and said: 'Standing there, I thought, in this place, the source of restless poetry- Nirjharini, the epic poet lies silently in the dark agar today. The feeling that arose in my mind is indescribable. Eternally undulating, the eloquent language of immortal poetry sleeps in this place. Sleep poet! Where the English language is known, your name will not be unheard.... And far away the fair-skinned Aryavarta of the Ganges will give you hugs and hearty tributes as dear brother of Bharati's son-in-law Kalidasa, beloved poet of the world.  It was this tribute that later served as a valuable inspiration for his plays. Moreover, in several essays such as 'The Beginning of My Dramatic Life' ['Natya-Mandir': 1317], 'Kalidasa and Bhavabhuti' ['Sahitya': 1317-18], (Page: 21) 'The Actor's Duties' ['Natya-Mandir': 1317] etc., Dwijendralal Shakespeare's plays. The impact of the expression he analyzed made his play worthwhile. We will now discuss the subject following Dwijendralal one by one.

A. Dramatic language: We can see that Dwijendralal tried to follow Shakespeare from the beginning in terms of using dramatic language. In this regard, he himself said that: "I first started writing plays in blank verse in imitation of Shakespeare. After the publication of 'Tarabai' I sent a copy to the celestial poet Navin Chandra Sen on his request. He read it and expressed the opinion that this new type of alliteration, Michael's rhythm is not in it - this alliteration will not work. Along with that, the divine prophecy of the heavenly Michael Madhuhudan seemed to be that - the drama in Amitrakshar cannot be played now. Long speeches run in monosyllables. But fast conversation should be like prose. Shakespeare's alliteration differs from Milton's alliteration. ... saw that in Shakespeare some prose, some verse, nevertheless fit. . . . ... Considering all these, I decided to compose dramas in poetry from then on. ... But because of my excessive addiction to poetry, I could not give up the temptation to place the language of prose in the seat of poetry.' 

Following this admission, one can see that in the use of dramatic language, Dwijendralal's Shakespearean method ['Shakespeare's somewhat lyrical approach nevertheless takes two forms. Because that was the case in English.']

Abandoned; But still, the great poet made a wonderful mixture of poetry and drama in his drama; As Dwijendralal could not avoid her in any way, the Dwijendra-drama became Srimayi in the guise of beautiful poetic dialogues.

B. Drama: Dwijendralal in his essay 'Kalidasa and Bhavabhuti' says: 'The drama in which the inner self is shown is the drama of the high organ, like Hamlet or King Lear. (Page: 122)

War with externalities is the element of low-class drama; For example, Othello or Macbeth. .. This conflict is present in all epics. A poet cannot create a magnificent drama if he cannot raise waves in the conflict of instinct and passion, if he cannot raise a whirlwind in the conflict of opposite winds. ‘If there is no internal conflict, there is no high-level drama. The external war does not make the drama special.... The drama which shows the battle of virtues is the drama of the highest organ.'  Dwijendralal's knowledge of drama is entirely derived from Shakespeare. And he has applied this technique very effectively in many of his plays.

Dwijendralal also mastered another drama from Shakespeare. That is the use of soliloquy.

Although Dwijendralal wrote in the preface to his 1908 AD play Noorjahan, "I have completely omitted any soliloquy in the second person in this play." Yet conflicted characters like Chanakya, Chandragupta, Aurangjib (Sajahan) and Noorjahan used emotional soliloquies alone to make visible the thought of their broken hearts or tired brains. This approach is particularly Shakespearean."