Write it better and summarize the text "In the above discussion, we have seen that Dwijendralal was trying to master Shakespearean drama almost from the very beginning of his play writing, and in his play 'Noorjahan' [1908], in the late afternoon of his life, he fully absorbed the form of Shakespeare's drama and opened the wide door of Bengali drama towards psychological drama. gave In this context, the critic said: 'Like other dramatists of Bengal, the shadow of Shakespeare's characters and events can be seen in many plays of Dwijendralal. But in 'Noorjahan' play, the influence of Shakespeare's unique method has been more evident. Whether successful or not, there is no doubt that this attempt is adventurous.' 

In terms of story, there is no similarity between 'Antony and Cleopatra' and 'Noorjahane'. (Page: 123) But just as the story of that drama on the occasion of Cleopatra's character-description makes us face some unsolvable questions, in the same way the story of Noorjahan's character development based on 'Nurjahan' also presents some surprising questions in front of the reader. Just as Shakespeare transcended history to present Cleopatra, who embraces life and death equally, with all the mystery of her character, Dwijendralal tried to portray Noorjahan in much the same way.

In addition, Emperor Antony, who lost himself in the fascination of Cleopatra's form, forgot the kingdom and empire and was called a strumpet's fool, Jahangir also became the same. As for Cleopatra, she did not hesitate to flood her vast Roman Empire: 'Lot Rome in Tibor melt' [1.I.]; Wanting to fill the deepest darkness of the night with the depth of luxury, as he said:

Come.
Let's have one other gaudy night. Call to me
All my sad captains; fill our bowls once more ;
                                                  Let's mock the midnight bell.                               3. XIII.

In the same way, Jahangir directed Nurjahan and said:
Jahangir: You rule your empire my dear. Now bring my empire, wine, beauty, music. 4.2
or,
Jahangir: . . . I have given you empire, enjoy it, destroy it. It's nothing to the empire I've got... Let wine, beauty and music surround me.                                                                             4.4

It is not difficult to notice the literal or conceptual similarity of the dialogue of Shakespeare's play with many other dialogues. Moreover, in the second act of the play, in the first scene, Pompey says of Cleopatra:

But all the charms of love,
Salt Cleopatra, soften thy wan'd lip! (Page: 124)
Let witchcraft join with beauty lust with both;
Tie up the libertine in a field of feasts,
Keep his brain fuming.

Just as Jahangir says [Act-4, scene-4]:

- Have you enchanted me with your enchantment, O witch! Have you overwhelmed me with your poisonous breath – O Kalbhujangi. I am obsessed with you; ••• Let wine, beauty and music surround me. And on that you give me your form, voice, kiss, hug dear. Let the world be extinguished from the eyes.

Apart from this, we can see the shadow of the two main characters and their behavior in another play of Shakespeare on the character of 'Nur Jahan'. That is, the characters of Macbeth and Lady Macbeth in the play Macbeth. Firstly, Nurjahan's character is similar to Macbeth, although male. Because, Lady Macbeth helped her husband's ambitions and murder, but Nur Jahan himself performed the murder ceremony from the throne to clear the throne. It seems that the playwright tried to infuse Macbeth's character in her to make it a worthwhile 'She Tragedy'.  Secondly, the behavior of Lady Macbeth and Noorjahan are similar in terms of demonic desire to acquire great power. And both were driven mad by this un-feminine behavior. The ferocious storm of anti-feminine ambition between the two, and the decay in it, is particularly striking.

After this we can notice some similarity of Hamlet with Noor Jahan's daughter Laila;- but it is more significant only in the first part of the play. Lyla's mother marries her father's murderer, which is as unbearable to her as it is to Hamlet. So, like Hamlet, Lyla is torn between these conflicting events and environment. A young critic commented on the similarity between Shakespeare's play and Nur Jahan's character: 'Whatever inconsistency the king [Claudius] sees in the mad [?] Hamlet, the viewer or reader knows that his outward inconsistency is beset by a deeper consistency. (Page: 125) Noor Jahan's character is not inconsistently consistent despite such inconsistencies.'  But 'Eho Banu', we think it desirable to pay attention to another very recent remark made by another drama-critic about Shakespeare's influence on this play. Because, he says: 'This Noor Jahan has been completely turned into a vengeful demon by Dwijendralal. Some critics have tried to explain Noor Jahan's character by citing the example of Shakespeare's Lady Macbeth—how ambition destroys the natural gentleness of women. But even in Lady Macbeth's fiendishness, femininity is not entirely lost. Noor Jahan's fate-haunted soliloquies can't draw the sympathy that her repentance elicits. He has reaped the consequences of his sin. Where is the opportunity to sympathize with him?” Despite this comment, the critic said in the same book: '...The dramatist has created a beautiful and intriguing play by highlighting the historical conflicts of Noor Jahan's life. In portraying Noor Jahan, the playwright has mainly adopted the style of Shakespeare. Dwijendralal wrote the first meaningful She-Tragedy in Bengali language based on Shakespeare's character-based, anti-conflict tragedy.'  Finally, I think it is necessary to mention the follow-up of a famous stanza of Shakespeare's Hamlet in this immortal play of Dwijendralal. For example: Regarding Noor Jahan's madness [Act-5, Scene-8] Jahangir's minister's son Asaf commented: 'There is order in madness.' Just next to this, Polonius mentions Hamlet's madness in Shakespeare's 'Hamlet' play: "Though this be madness, yet there is method in't." [2.II] It goes without saying that both are the same in language and meaning."