In a recent book review, Lois Leveen shared some disturbing statistics regarding the contemporary “hows and whys” of physicians dying in America. “Suicide is all too common among physicians . . . at least one doctor kills her or himself every day . . . equivalent to losing the graduating class of 2–3 medical schools annually . . . . Male physicians die from suicide at a rate 140 percent higher than the general population. For female physicians, the rate is . . . an astounding 230 percent . . . . [A] veil of secrecy contributes . . . making it difficult for doctors to get . . . support.” Leveen suggests that the humanities may help physicians deal with modifiable risk factors that contribute to physician burnout, depression, and suicide. She also proposes that the humanities can prepare physicians to take a more compassionate stance towards their ailing colleagues who need help. The authors of this paper have recently utilized two medical humanities pieces to address the topic of physician depression and dying—The Angel that Troubled the Waters by Thornton Wilder and Rosencrantz and Guildenstern Are Dead by Tom Stoppard. These works of literature not only addresses the evolution of cultural empathy toward depressed physicians, but also demonstrates that physicians’ attitudes towards the conduct of their dying and death can adversely affect their interpretation of patients’ end-of-life choices. In 1928, Wilder wrote The Angel that Troubled the Waters, based on John 5:4 and the Pool at Bethesda. For dramatic purposes, another character is added to the others in search of healing. It is a physician who is “Broken on the wheels of living.” The physician does not have a physical infirmity, but is depressed. The angel and patients refuse him healing! Physicians of Wilder’s era were esteemed, ostensibly possessing emotional strength to the point of invincibility. Suicide by physicians was seen as a way in which to cleanse the medical profession of weak individuals who should not have been doctors in the first place. The period’s apex (or nadir if you will) was reached in the novel, The House of God, by Samuel Shem. An intern, also broken on the wheels of living, kills himself. All of his colleagues knew he was depressed, but ignored and criticized him. Contemporary medicine has improved attitudes toward depressed physicians, but there still is a very long way to go—as Leveen’s statistics verify. Although Wilder deliberately avoided accentuating the healing scene by relating it to the Gospel of John, that source is unmistakable, even to a non-religious audience. Rosencrantz and Guildenstern Are Dead by Stoppard is from the Theater of the Absurd genre, previously notable for Beckett’s Waiting for Godot. Attitudes towards dying and death in the play emanate from an atheistic worldview. Adding physicians to Rosencrantz and Guildenstern’s struggle with mortality, as well as how individuals die, leads to disturbing discoveries. There are data that demonstrate physicians’ attitudes toward death—including their own end-of-life preferences—intrude upon the management of their patients’ end-of-life care. Physicians have admitted in an anonymous survey that if they do not agree with patients’ Advance Directives, they will find ways to deviate from previously agreed-upon plans. Patient autonomy in the context of dying may not be what patients think it to be. Physician attitudes and bias—which may be informed by opposing worldviews—can alter end-of-life care in ways not foreseen or desired by patients and their families. The medical humanities can play an important role in contemporary medical education, especially by openly presenting and discussing sensitive end-of-life concerns. The curriculum can gain physician interest because it engages contemporary physicians dying in America by suicide. Although biblical content and worldview were not the primary or original intent of the works discussed above, an evangelical perspective can be shared, even if the Bible is only viewed as ancient literature by the audience.