Ophelia, a character in William Shakespeare's drama Hamlet, is often referred to in literature and the arts, often in connection to suicide, love, and/or mental instability. Literature Novels Russian novelist Fyodor Dostoevsky, in the first chapter of his 1880 novel The Brothers Karamazov, described a capricious young woman who committed suicide by throwing herself off a steep cliff into a river, simply to imitate Shakespeare's Ophelia. Dostoevsky concludes that "Even then, if the cliff, chosen and cherished from long ago, had not been so picturesque, if it had been merely a flat, prosaic bank, the suicide might not have taken place at all." Dostoevsky also depicts the heroine Grushenka as Ophelia, binding the two through the words "Woe is me!" in the chapter titled "The First Torment". Dating Hamlet (2002), by Lisa Fiedler, tells a version of Ophelia's story. Agatha Christie's characters refers to Ophelia in the novels After the Funeral (1953), Third Girl (1966) and Nemesis (1971). In Jasper Fforde's novel Something Rotten (2004) Ophelia tries to take over the play during Hamlet's excursion to the real world. Ophelia by Lisa Klein tells the story of Hamlet from Ophelia's point of view. In Paul Griffiths' novel (2008) Ophelia tells a narrative using only her words from Hamlet, rearranged. The novel has been adapted as music by Hans Abrahamsen. Poetry French poet Arthur Rimbaud wrote a poem called Ophélie in 1870, inspired by Hamlet. In T. S. Eliot's poem The Waste Land, several allusions are made to Ophelia's death: for example, one section is titled "Death by Water". Non-fiction Mary Pipher alluded to Ophelia in the title of her nonfiction book Reviving Ophelia: Saving the Selves of Adolescent Girls. The book puts forth the thesis that modern American teenage girls are victimized, lost, and unsure of themselves, like Ophelia. Drama In 2011 the Department of Theatre and Performance at the Victoria and Albert Museum invited director Katie Mitchell and Leo Warner of 59 Productions to conceive and produce a video installation exploring the nature of 'truth in performance'. Taking as its inspiration 5 of the most influential European theatre directors of the last century, the project examines how each of the practitioners would direct the actress playing Ophelia in the famous 'mad' scenes in the play. This multiscreen video installation, launched at the Chantiers Europe festival at the Theatre de la Ville in Paris on 4 June, and opened at