Brian Friel`s Molly Sweeney is a play about the psychological wounds inflicted upon Molly Sweeney by her father, husband, and doctor. This article begins by examining how the three men exert their powers of knowledge and education negatively on Molly Sweeney`s mind, and how they gradually transform the blind, but peaceful Molly into a mentally disturbed woman. I then argue that Molly in the mental hospital discovers her own feminine art and ethics by creating an imaginative world in which she can not only be herself but also welcome the Other or the wounded as they are. I maintain that Molly is not a neurotic woman but an artist of withdrawal and resignation, who can appreciate both her world of fantasy and her ability to speak to the sorrowful Other as valid ways of living. Through her simple fantasy life in the narrow confines of the hospital, Molly, like Emily Dickinson confined in her room, can throw into relief the three men`s reasonable, worthy, ingenious, but ultimately selfish pursuits. Emmanuel Levinas` ethical philosophy is employed to illuminate and explore the men`s influence upon Molly and her rebirth as an ethical woman artist. This article also draws upon Friel`s other plays and Dickinson`s poems to navigate Molly`s mental biography and her commitment to artistic concerns in a broader context.