Agnes of God

John Pielmeier

47 pages 1-hour read

John Pielmeier

Agnes of God

Fiction | Play | Adult | Published in 1982

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Act I, Scenes 6-10Act Summaries & Analyses

Content Warning: This section of the guide includes depictions of death, child death, mental illness, sexual content, child sexual abuse, physical abuse, emotional abuse, child abuse, addiction, substance use, and pregnancy termination.

Act I, Scene 6 Summary

Agnes’s singing continues as Dr. Livingstone speaks, reflecting on her personal history and its influence on her attitudes. She recalls frequent arguments with her mother during childhood, particularly about religion. At one point, she told her mother that God is a “moronic fairy tale” (29), which provoked a strong reaction. She describes how her mother treated such statements as personal attacks.


Dr. Livingstone recounts a later period in her life when she became engaged to a Frenchman named Maurice, whom her mother disliked. This opposition intensified her attachment to him. Their relationship ended after Dr. Livingstone became pregnant. She explains that she did not want to continue the pregnancy or follow a path similar to her mother’s, while Maurice held a different view, leading to their separation.


She then recalls an incident from her mother’s later years, when her mother’s mental state had declined. In anger, Dr. Livingstone told her mother that God was dead. Her mother responded by kneeling and praying for God’s soul. Dr. Livingstone states that she was never deeply devout; her doubts began early, and her sister Marie’s death caused her to abandon religion entirely. She notes that her mother never forgave her for this decision and that she, in turn, never forgave the Church. Over time, she felt she had moved past her anger. However, encountering Agnes reignited these feelings. The scene ends with Dr. Livingstone repeating the name Marie.

Act I, Scene 7 Summary

Dr. Livingstone resumes her interview with Agnes by asking how she feels about babies. Agnes responds that she does not like them and finds them frightening, expressing anxiety about their fragility and growth. She explains that she fears dropping them and associates physical injury with intellectual impairment, stating that she believes that she herself was dropped as a child and that this explains her difficulty understanding things such as numbers and the world around her.


Agnes describes moments in which reality feels unstable; she copes by speaking to God, whom she trusts and does not fear. She states that this reliance on God is why she remains in the convent and that it provides her with comfort and helps her sleep. She recounts her childhood with her mother, describing her mother’s frequent headaches and her isolation of Agnes from the world. She claims that her mother could predict the future and foresaw Agnes’s life in the convent and her current situation.


When pressed, Agnes attributes her mother’s knowledge to messages from angels. She denies seeing angels herself but admits that her mother claimed to see them during her headaches. She avoids directly criticizing her mother, stating that disagreement would lead to punishment. Agnes insists that her mother loved her and rejects any suggestion that she was unwanted.


Dr. Livingstone questions Agnes about motherhood and reproduction. Agnes maintains that she does not want a child and explains adoption in abstract terms, describing unwanted children as the result of a “mistake.” As Dr. Livingstone presses further about sex, pregnancy, and the identity of the father, Agnes becomes increasingly distressed. She denies the existence of the child and insists that everything is a mistake. When Dr. Livingstone approaches her, Agnes reacts violently, accusing her of trying to take God away and demanding that she leave.

Act I, Scene 8 Summary

Mother Miriam confronts Dr. Livingstone, accusing her of hostility toward nuns and the Catholic Church. Dr. Livingstone denies any prejudice but criticizes “ignorance and stupidity” generally (34). She argues that Agnes has been kept unaware of the outside world. The exchange becomes heated, with Dr. Livingstone insisting that Agnes has a right to understand life beyond the convent, including relationships, sexuality, and independence. Mother Miriam counters that Agnes is a person, not a symbol of the Church, and demands that she be treated fairly.


Mother Miriam reveals that she was once married with children, but her family has rejected her, which she attributes to the fact that she “protected [them] from nothing” (35). Her two children are now atheists, and she acknowledges her own past failures. Dr. Livingstone argues that Agnes needs exposure to reality, while Mother Miriam warns that the available outcomes—prison or a psychiatric hospital—would harm her. Dr. Livingstone proposes a third possibility: acquittal based on “legal innocence,” which requires answers about the pregnancy.


When asked about events around the time of conception, Mother Miriam recalls an incident involving Agnes’s missing sheets. She recounts questioning Agnes, who admitted to burning them because they were stained. Agnes initially attributed the stains to menstruation but then insisted that it was not her usual cycle and expressed confusion and fear about the bleeding. She believed she was being punished without understanding why.


Mother Miriam attempted to calm Agnes by singing with her until she regained composure. Reflecting on this in the present, Mother Miriam realizes that this incident likely marked the beginning of the pregnancy and explains that it was the reason Agnes destroyed the sheets. Dr. Livingstone asks for more precise information about the timing and any unusual occurrences. Mother Miriam states that she will consult her daybook to determine the details.

Act I, Scene 9 Summary

Dr. Livingstone recalls a riddle about a psychiatrist and a nun who discover that they share the same birthday and parents but are not twins: They are two of a set of triplets. Dr. Livingstone explains that she encountered this riddle in an old magazine and reflects on how it influenced her thinking about the case. She states that by this point in her investigation, she had come to believe that Agnes was innocent of murdering her child. She began to consider the possibility that another person caused the infant’s death. She admits, however, that she did not yet have proof or a clear understanding of who that person might have been. 


Dr. Livingstone concludes that the answer she eventually arrived at suggested the existence of a third individual connected to the situation, which reframed her understanding of the events surrounding the birth and death of the child. Her objective was twofold: to legally establish Agnes’s innocence and to help her recover psychologically. As Dr. Livingstone finishes speaking, Agnes abruptly interrupts, insisting that she is “not sick.”

Act I, Scene 10 Summary

Dr. Livingstone presses Agnes to confront her emotional distress. Agnes resists, insisting that her unhappiness comes from Dr. Livingstone’s questioning and that forgetting would bring relief. The conversation shifts to Agnes’s childhood; she defends her mother despite Dr. Livingstone’s skepticism. Agnes is insistent, claiming that she herself was “bad” and was responsible for what happened.


Through careful questioning, Dr. Livingstone uncovers details of severe abuse. Agnes reveals that her mother forced her into humiliating and painful situations, including making her undress, insulting her body as a “mistake,” warning her that she could become pregnant, and physically burning her genitals with a cigarette. Agnes expresses continued fear of her mother even after her death, believing that she is still being watched. Dr. Livingstone attempts to help Agnes reclaim a sense of self-worth by having her verbally reject her mother’s accusations and affirm her own value. Agnes tentatively participates, asserting that she is not ugly or stupid and that God does not make mistakes.


Dr. Livingstone then asks for permission to use hypnosis to uncover memories Agnes cannot consciously access. Agnes hesitates but agrees after Dr. Livingstone reassures her that the procedure will be safe and that she loves Agnes.


After Agnes leaves, Mother Miriam and Dr. Livingstone confront one another. It is revealed that Mother Miriam is Agnes’s aunt and that Agnes’s mother was the “proverbial black sheep” of the family (44). Mother Miriam insists that she had limited knowledge of Agnes’s troubled upbringing; she was aware of her mother’s alcohol addiction and the isolation of the child, but not the full extent of the abuse. She admits, however, that this is insufficient as an explanation. Dr. Livingstone accuses her of withholding important information, implying negligence. Their discussion broadens into a conflict over responsibility, faith, and authority, including whether Agnes should undergo hypnosis. Mother Miriam begins to suspect that Dr. Livingstone’s attitude is personal, so she asks what the Catholic Church did to her.


Dr. Livingstone explains her issues with religion. A childhood friend died in an accident, only for her classmates to be told that the little girl died “because she hadn’t said her morning prayers” (47). She hints at her animosity toward nuns and her own childhood feelings of being ugly. Agnes begins to sing. Mother Miriam speaks of her own conversations with angels and her crisis of faith, which was resolved by the sound of Agnes singing. She begs Dr. Livingstone not to take away Agnes. Dr. Livingstone explains that her sister died in a convent. They talk about smoking and their difficulty in quitting the habit. They discuss which Christian figures would smoke, leading Mother Miriam to note that there “are no saints today” (50). She still believes in miracles, though most people have lost the capacity for wonder. Instead, most people think only about sex. Mother Miriam considers Agnes’s singing a sign that Agnes is still “attached to God” (51). She agrees to allow the hypnosis to proceed.

Act I, Scenes 6-10 Analysis

As in Scene 1, the second half of Act I begins with a monologue from Dr. Livingstone. The monologue is inspired by the meetings between Agnes and Dr. Livingstone, as indicated by the way in which Agnes’s singing voice forms a background to Dr. Livingstone’s reflections. Like Mother Miriam, Dr. Livingstone cannot help but feel maternal toward Agnes, which prompts her to reflect on the time in her life when she came closest to becoming a mother. As she states when discussing Maurice and the possibility of pregnancy, she “didn’t exactly see [herself]” becoming a mother (29). More specifically, she notes that she cannot see herself as her own mother. Agnes’s significance is thus twofold for Dr. Livingstone: She fills an emotional void that Dr. Livingstone has just discovered in her life—the desire for a daughter—but she is also a figure onto whom Dr. Livingstone projects her own ambivalence about mother-child relationships. Agnes is a young woman who was abused by her mother and, Dr. Livingstone suspects, killed her child as a consequence of this abuse and a fear of perpetuating a cycle of suffering. Dr. Livingstone can relate to this, having renounced motherhood for fear of turning into her own mother. Dr. Livingstone’s investment in Agnes’s case thus stems both from maternal concern and from identification—an attempt to set right her own complex history with mothers and motherhood by proving Agnes’s innocence.


In Scene 9, Dr. Livingstone shares a riddle that relies on the unmentioned existence of a third person, the triplet who is the sibling to the psychiatrist and the nun. The riddle is significant in that it alludes to Dr. Livingstone and Mother Miriam as the psychiatrist and the nun, respectively, yet then implies the existence of a third person upon whom the narrative of the play depends. In this context, the third person shifts and changes. Agnes herself could be considered the third person; she is the only other prominent character, and she resembles both Dr. Livingstone and Mother Miriam in key ways. The association suggests that she presents the key to understanding the other two characters, as well as their relationship with one another. In this sense, it draws attention to the theme of Science and Religion as Competing Arbiters of Truth, as Dr. Livingstone’s and Mother Miriam’s worldviews surface largely through their dialogue about Agnes. 


In the context of Dr. Livingstone’s monologue, however, this “third person” is strongly identified with the “someone else” who killed Agnes’s child. Dr. Livingstone’s focus on discovering the child’s father implies that she views him as a potential suspect, but his identity remains unclear. At first, Dr. Livingstone suspects that Father Marshall may be the father, but Mother Miriam insists that he cannot have done so. In contrast, Mother Miriam implies that Agnes’s pregnancy may have been miraculous in nature. The question is never answered, much as the tension between rationality and faith remains unresolved. However, the ambiguity has another effect. To the extent that the baby’s father represents the many brutalities that the world has inflicted upon Agnes, the play holds open the possibility that God himself has brutalized her—not merely in the child’s conception, but in allowing all the abuse that preceded it. 


As Act I draws to a close, the conflict between Dr. Livingstone and Mother Miriam becomes more nuanced. They may function as symbolic representatives of their respective institutions, but their shared affection for Agnes means that they must engage with one another on human terms. Mother Miriam clarifies the subtext of Dr. Livingstone’s investigation, accusing her of harboring a grudge against the Catholic Church. Though Dr. Livingstone tries to claim that she only begrudges “ignorance and stupidity” (34), the implication of her words is that these are qualities that she associates with organized religion. Earlier in the play, her own monologue described her hatred for Catholicism. Thus, the audience knows that she dislikes the Catholic Church, so her denial is undercut by dramatic irony. As Mother Miriam points out to her, “Catholicism is not on trial here” (34), forcing Dr. Livingstone to refocus her efforts on saving Agnes rather than waging her own campaign against organized religion. Though this refocusing of efforts on Agnes works, it does not mean that the women agree on how to support Agnes. Mother Miriam wants to shield and protect Agnes from the hostility of society, while Dr. Livingstone believes that they should “let her face the big bad world” (35). They do not reach an agreement over whether Agnes is able to survive or thrive outside of the convent, but Mother Miriam’s consent for Dr. Livingstone to hypnotize Agnes represents a limited and negotiated settlement with regard to her future. Granting permission to such secular scientific techniques shows Mother Miriam’s willingness to compromise in the name of helping Agnes.

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