The
exploration of dark (and therefore normally taboo) human drives - such as our
confused, conflated and interwoven desires for sex, power, dominance and
submission at the same time and a partially masochistic attitude to pain ¡V as
if bringing these attitudes and drives out into the open will force us to
confront the darker sides of our own nature and question how ¡¥normal¡¦ we are
In the play, Shaffer first shocks us
with Alan¡¦s unorthodox and disturbing religion, which conflates notions of
sexuality with pain, and submission as well as power. However, as the play
unfolds he slowly exposes the various influences that have created/informed
Alan¡¦s beliefs. In a way, Shaffer justifies Alan¡¦s ¡§extremity¡¨ by drawing
parallels between his conflated notions of sex and religion with the way we
approach similar established forms of religion and sex. Ultimately, in Equus,
through portraying Alan¡¦s religion as complex and convoluted but at the same
time as a religion that works and has echoes of our own, Shaffer highlights the
purely circumstantial ways in which we as a society arrive at established
conventions through putting our values under scrutiny in the ¡§dissecting
theatre¡¨ of the play.
Page |
Quotation |
Explanation |
34 |
¡§FRANK: A boy spends night
after night having this stuff read into him; an innocent man tortured to
death - thorns driven into his head - nails into his hands - a spear jammed
through his ribs. It can mark anyone for life, that kind of thing. ... He was
always mooning over religious pictures. I mean real kinky ones, if you
receive my meaning. ... All that stuff to me is just bad sex.¡¨ |
Frank describes the poster of
Christ that hung over Alan¡¦s bed to Dysart. Here, Frank very explicitly but
at the same time quite offhandedly conflates taboo notions of sex (¡§kinky¡¨,
¡§bad sex¡¨) with religious fervour and violence. This use of dialogue and
informal speech serves as a means of exposing the subtle, subliminal
influences that fed into Alan¡¦s confused and distorted perceptions of sex,
religion and violence where images of pain and self-flagellation are
associated with devotion. We can see both of these features reappear later
when Frank catches Alan whipping himself while he prays to Equus. |
41 |
¡§DORA: Frank, he¡¦s bleeding!¡¨ |
This is the occasion when Alan
first came in contact with real horses and his first experience riding one of
them. Though he was hurt after being dragged down by his father, Alan
insisted that he was not hurt and that riding on the horse was absolutely
wonderful. Alan¡¦s desire to ride on horses seems to have over-ridden the pain
he may have suffered and this is perhaps one of the points at which Alan
begins to combine feelings of exhilaration with feelings of pain. It is also clear that part of
the enjoyment that came from horse riding derived from the feeling of being
able to control another living creature. Not only does this reveal the way in
which the enjoyment of power seems to be an almost natural human instinct but
the fact that this control is achieved through the infliction of pain (the
¡¥chinkle-chankle¡¦ never comes out) paints this in an even darker light. |
49 |
¡§Words like reins. Stirrups.
Flanks... Mum wouldn¡¦t understand. She likes ¡¥Equitation¡¦. Bowler hats and
jodhpurs! ... The horse isn¡¦t dressed. It¡¦s the most naked think you ever
saw! ... Even the most broke down nag has its life! To put a bowler on it is
filthy!¡¨ |
Not only does Alan become
fascinated with the raw physicality and thus in a sense the sexuality of a
horse, he also associates this nakedness with sacredness and regards it as
something that shouldn¡¦t be compromised. |
51 |
ALAN: Flankus begat Spankus,
And Spankus begat Spunkus the Great, who lived three score years! ... And
Legwus begat Neckwus. And Neckwus begat Fleckwus, the King of Spit.¡¨ |
Here Shaffer makes an allusion
to the genealogical lists in the Old Testament of the Christian Bible. During
this ritual, Alan replaces the names of biblical figures with names that
reflect his fascination with the raw physicality and thus the implied
sexuality of a horse (Flankus, Spankus, Legwus, Neckwus), indeed this
sexuality becomes explict in the name ¡¥Spunkus¡¦. A psychoanalytical reading of
this quotation may suggest that Alan seems to sublimate his sexual feelings
towards horses, as seen in the names used, into a more familiar and perhaps
acceptable means of expression - religion, as seen in the allusion to the
Bible. In a sense it could be argued that Alan tries to legitimize his sexual
feelings by placing them in a familiar religious structure or foundation.
Again, this shows the conflated nature of his perceptions of sex and
religion, and perhaps evokes audience introspection as to whether or not
there are parallels in the way we approach religion (as maybe exemplified by
the violent depiction of Christ being physically replaced with a picture of a
horse). |
62 |
¡§DYSART: Worship as many as you
can see - and more will appear!¡¨ |
In this quotation Shaffer
explores the meaning and importance of ¡§Worship¡¨. Dysart talks about the
¡§living Geniuses of Place and Person¡¨, and subverts the notion that God, or
Worship, is outside of our control, or is contingent on a higher power that
we are invariably subject to. While one reading of this may
be humanistic, as Shaffer seems to place place the ¡¥higher powers¡¦ under the
control of human beings, it also serves to reveal how our attitudes to
submission and dominance are closely (even bizarrely) interrelated as we
create gods before which we subsequently prostrate ourselves. This idea is
echoed in the phrase ¡¥Godslave¡¦ that Alan uses to refer to Equus when he
rides Nugget at the end of the act. This is an explicit revelation of how the
subject of worship is both reliant upon and superior to humans, at the same
time. |
68 |
¡§DYSART: But you managed? You
mastered him? ALAN: Had to!¡¨ |
Even though this doesn¡¦t seem
like a really significant line or moment in the play, Alan¡¦s assertion that
he ¡§had to¡¨ master Equus is worth noting as it nicely encapsulates the way
the idea of the ¡¥Godslave¡¦ and the way in which Alan is both master over the
horse while at the same time being subject to its higher power. Alan¡¦s
conviction and certainty here is also the feature of which Dysart is jealous. |
81 |
¡§DYSART: ... He¡¦s a modern
citizen for whom society doesn¡¦t exist. He lives one hour every three weeks -
howling in the mist. And after the service kneels to a slave who stands over
him obviously and unthrowably his master. With my body I thee worship! ....
Many men have less vital with their wives.¡¨ ¡§DYSART: ... That¡¦s the
Accusation! ... ¡¥At least I galloped! When did you?¡¦¡¨ |
In this quotation Shaffer
clearly outlines the complexities and contradictions of Alan¡¦s religion,
while also making it clear that Alan¡¦s unorthodox living is more exciting and
vital than conventional relationships. The fact that he says ¡§Men have less
vital with their wives¡¨ suggests a parallel between Alan¡¦s act of worship and
the act of sex, an idea which is perhaps accentuated by the orgasmic
connotations of ¡¥howling in a mist¡¦. Finally, Dysart seems to conclude that
Alan¡¦s way of life, though unorthodox, ¡§extreme¡¨ and even detrimental to his
own well-being, posseses a vitality (¡§At least I galloped¡¨) that doesn¡¦t
exist in conventional aspects of life, sex, work and religion. |
82 |
¡§DYSART: His pain. His own. He
made it. Look¡K to go through life and call it yours ¡V your life ¡V you first
have to get your own pain.¡¨ |
Dysart argues that to live a
meaningful life, one must first experience a pain that is entirely unique to
oneself clearly conflating the idea of being truly alive with the idea of suffering. |
92 |
¡§ALAN: All the men - staring up
like they were in church. Like they were a sort of congregation.¡¨ |
Alan¡¦s description of the male
cinema audience when he goes to see the ¡¥skinflick¡¦ with Jill suggests an
obvious connection between sex and religion - but here it¡¦s more that notions
of religion have been superimposed on sex, rather than the other way around
as in other instances. Here, Shaffer¡¦s comparison of watching a dirty movie
to a religious act of worship suggests how both sex and religion can become
objects of devotion in similar ways implying that the desire for spiritual
comfort that we find in church has little to distinguish itself from our
fascination with the sex and the naked body. This connection between religion
and sex / sexuality becomes more convincing when we consider that most of the
major world religions (Christianity, Judaism, Islam) often stress ideas such
as reproductive control, sexual purity before marriage and disapproval of
¡¥abnormal¡¦ sexual acts such as homosexuality or masturbation. |