Doubt: A Complex Interplay of Opposing Beliefs and Wills

Shanley's thought-provoking, multi-faceted play, Doubt, can be described merely as a battle of diametrically opposed wills and belief systems (mainly that of Sis Aloysius and Father Flynn), properly staged mostly in a "court-room design" setting. Those reading and enjoying the play are, in such a way, forced to come to terms with and challenge their concept beliefs as they face the enigmatic ideas of judgment, morality, and obviously, doubt. In the contest of wills that takes place as the play advances following the aspersions cast upon Father Flynn by Sister Aloysius, Doubt contacts us to attention the problems of navigating one's method a contemporary world enveloped in remarkable modifications and moral issues.

By not making clear who the lead character and antagonist of the story are, and who in fact is in the right, Shanley rather backs a total, strong rejection of absolutes-- of all that is dogmatic, uncomplicated, and black and white. One scene that encapsulates the play's main theme of conflicting psychological practices, those of dogmatism/certainty and doubt, takes place early on in the play, when Sibling Aloysius is consulting with Sis James about the method in which she must teach and conduct herself in front of her students.

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Although the relationship between Sister James and Sister Aloysius is not the fundamental focus and subject of scrutiny in the play, this brief encounter clearly shows how irreconcilably different the convictions of the two women are. Sister James, in her gentle and oftentimes passive way, is a more subtle form of Father Flynn.

In this scene, the women are discussing William London in Sister Aloysius’ office. Sister Aloysius, continuing her relentless line of criticism and cynicism, urges Sister James to be skeptical when it comes to the origin of William London’s ostensibly spontaneous nosebleeds. She tells her not to let compassion dictate her judgment, and instead to practice disconnectedly cold pragmatism: “Liars should be frightened to lie to you. They should be uncomfortable in your presence. I doubt they are…the children should think you see right through them” (12). Taken aback by this and dubious, Sister James asks, “Wouldn’t that be a little frightening?”, to which Sister Aloysius unblinkingly responds, “Only to the ones that are up to no good” (13). These words carry incredibly strong implications related to the play’s main plot.

When she speaks of William London, she is, by virtue of insinuation, speaking of Father Flynn. She adheres to the notion that only the guilty flinch and are disconcerted when accused of having done something wrong. Since Father Flynn shudders at her unwavering suppositions, she assumes, without consideration, that he is lying, and thus guilty of bringing about an “improper” relationship with the vulnerable Donald Muller. She is of the understanding that intuition and faith are infallible guides that facilitate the discovery of truth. She is blinded by her deeply entrenched beliefs about human nature and behavior, and because of this, she refuses to see the possible innocence and humanity in Father Flynn until the very end, when she laments, “I have doubts! I have such Doubts!” In conjunction with her ultimate adoption of doubt, it could even be said that she begins to doubt her religious faith and vocation in general.

In his revealing preface, Shanley expresses his notions of certainty and uncertainty: “Doubt requires more courage than conviction does, and more energy; because conviction is a resting place and doubt is infinite—it is a passionate exercise” (ix). Doubt, he explains, has a dynamic, malleable nature that allows for change and growth, while certainty is an emotionally expedient refuge for those who are too scared to admit that they, in reality, “don’t know…anything”. Father Flynn, coinciding with this perception of obstinate sureness, says to Sister Aloysius, “even if you feel certainty, it is an emotion and not a fact” (55). Hypocritically, Sister Aloysius preaches emotional disconnectedness and concrete logic, when she does not practice them herself. While it can be said that Father Flynn and Sister James evidently represent doubt and Sister Aloysius certainty, it is unquestionable that Shanley does not endeavor to predispose an individual to favoring one side over the other.

He prevents one from establishing pat conclusions about the characters, their motives, and the validity of their arguments. In doing this, he creates an interactive experience for the reader and audience member; the play is, in large part, a reflection of oneself and one’s core beliefs, and therefore, interpretations will vary from person to person. One thing, however, is certain with regard to verdict and truth: “There is no last word. That’s the silence under the chatter of our time”. Doubt warns us not to lose sight of the truth by seeing only what we expect or hope to see. Rather than admonishing suspicion, it admonishes lack of humility and the ability to view things through a different lens.