Melancholy, grief and madness have expanded the works of many playwrights and Shakespeare is no exception. The mechanical regularities of such emotional illnesses as presented in Hamlet not only allow its audience to sympathize with the tragic Prince Hamlet, but also provide the complexities necessary to understand the tragedy of his, ironically similar, Lady Ophelia. It is poor Ophelia who suffers from her lover's discretion because of the decisions she was forced to make. Hamlet tortures himself and falls victim to depression and grief, however, his madness is fictitious. They each share a common connection: the loss of a parental figure. Hamlet loses his father to a horrible murder, as does Ophelia. Her situation is more serious because it is her lover who kills her father and also all her hopes for her future. Ultimately, it's even more damaging to his character and causes his melancholy and grief to quickly turn into madness. Critics argue that Hamlet has the first reason to be hurt by Ophelia because he follows his father's wishes regarding Hamlet's true intentions for their initial love. In Act 3, Hamlet begins with his spiteful sarcasm towards her. “I humbly thank you, well, well, well,” he tells her of his opening lines. (III, i, 101) Before this scene, he has learned that the king and Polonius have established a plan to justify his unusual and sorrowful behavior. Hamlet is well aware that this plan simply uses Ophelia as a tool, and as such, he doesn't have much of a chance to refuse without angering his father and also the conniving king. Hamlet promptly refuses to care for her. He says to her and all his uninvited listeners: "No, not me, I have never given you anything" (III, i, 105). Some critics point out, as does J. Dover Wilson, that Hamlet has the right to direct his anger at Ophelia because although many critics "in their sympathy for Ophelia have forgotten that it is not Hamlet who 'rejected' her, but she him" (Wilson 159). But it is possible that Wilson does not see the possible harm to Ophelia if she were to disobey the authority of her father and the king (that is, of her father and her king). She is undeniably caught in a trap that has been set, in part, by her lover whom she loves and idealizes. Her shock is genuine when Hamlet asks her to "take you to a nunnery" (III, i, 131).