Plays and playwrights are the two unfold powers of literature. Play needs emotions and playwright needs knowledge and eloquence. The form of arts is not ended with plays and playwrights, it is continuing with performers and audiences. The victory of the play reminds of the purgation of the audience. The purgation will happen with the real emotions of the performers. The term emotions are born from the Navarasas. The Father of Indian theatrical art forms said about the importance of Rasas (emotions) in his book called Natyasastra. Thalam, Bhavam, Abinayam are the effects of Bharatham which relish the performance of dance. The staging of drama also has the same effects of Rasa (emotions). The dramatic performers attribute the imaginary lines of drama as a real thing through their facial and body expressions. The manipulating action of a man to monster, poor to a prince, slave to Sheriff happened through the performance of the actors. The comparison of nine rasas with Shakespeare's dramatic characters revealed the coherence of two art forms dance and literature. Both forms exhibited the emotions of human lives. This paper is presented on the Quest of Navarasas in Shakespearean plays. The major dramatic characters of Shakespeare were used the rasas of Natyasastra to enhance their characterization.