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The character of Ophelia has been long debated: her role from the Shakespearean drama is quite marginal, yet filled with meaning. With the passage of time, she turned into a more and more significant character, worth being analyzed and described in a number of other books. This was the start of Ophelia's afterlives, her narrative being told -and - occasionally reinvented- from various points of view and described with cognizance and attention to her feelings. This essay will review how the figure of Ophelia evolves in Shakespeare's Hamlet, in John Updike's Gertrude and Claudius and at Graham Holderness's The Prince of Denmark. Specifically, it is going to examine how these texts convey a number of the main differences regarding her personality, always connected to a profound symbolism: her real outline, her personality and her madness and death. To start with, in these three masterpieces, Ophelia's physical description is very corresponding and always connected to the color white, despite the fact that this relationship has distinct undertones. On point and between the pages of these two books, she is immediately related to the very delicate, cleverest and lightest colour. Furthermore, she's usually explained by the adjectives "honest" and "white", mostly utilised in particular by Holderness. Apparently, being Gertrude and Claudius a prequel and The Prince of Denmark a sequel of this Shakespearean drama, the reader could imagine her era to be somewhat different, but no signs of these changes can be found in the texts. This may be a proof of how perpetual her beauty is, not touched by the passage of time. In the play, her "virginal and white" produces a dramatic contrast between Hamlet's "nighted colour", his "solemn black". Shakespeare's Hamlet additionally defines h.. .