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इस नाटक की विषय-वस्तु, इसका ढांचा और इसका मूल भाव कार्य-व्यापार या विचार के मुकाबले भावनाओं द्वारा आच्छादित हैं और जैसे ही कोई इन्हें विश्लेषित करने की चेष्टा करता है - वे “हवा में खो जाते हैं, वायवीय हो उठते हैं।
The theme, structure and mood of this play are so dominated by feeling rather than action or thought that as soon as one tries to analyse them they melt into air, into thin air.
तृतीय स्तर 1945 के बाद लिखे गए नाटक ों से सम्बन्धित है जिसके सम्बन्ध में उनकी रूचि समान रूप से कम थी, यद्यपि वे इस तथ्य सुपरिचित थे कि इस काल मराठी नाटक का पुनरूत्थान हुआ।
The third stage concerns plays written after 1945 about which his interest is even less, though he was aware of the fact that this period marked the regeneration of Marathi drama.
नाटक का अनुवाद आराम से और आनन्दपूर्वक संपन्न हुआ।
The translation was done with ease and delight.
नाटक का निरूपण वैशिष्ट्य रवीन्द्रनाथ का है - आधा सच, आधा अन्योक्तिपरक, तर्कपूर्ण और रहस्यवाद परस्पर घुल-मिलकर नाटकीय संघर्ष को प्रत्यक्ष से प्रच्छन्न और विचारोत्तेजक और अंत को विश्वासोत्पादक की अपेक्षा रहस्यमय बनाते हैं।
The treatment is characteristically Tagorean, half-realistic, half-allegorical, logic and mysticism diluting each other and making the dramatic conflict more suggestive than obvious, the conclusion more baffling than convincing.
जब कभी भी महाराजा मंडली को अपने राज्य में बुलाकर अपने सामने नाटक प्रस्तुत करने के लिए कहते थे तो 5000 रूपये की वार्षिक अनुदान राशि दिया करते थे।
The troupe was entitled to receive an annual grant of Rs 5,000 whenever the Maharaja commissioned the troupe to come to his State and stage plays in his presence.
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