Why Everything You Believe is Silly
The arbitrary
nature of Alan’s value system (and by implication all value systems) which is
depicted as a patchwork of ideas picked up from others
Alan’s beliefs run parallel, in their
essence, to more conventional types of religion, particularly Christianity. As
a result, despite the fact that Alan’s belief system may initially seem bizarre
shocking, the similarities to Christianity imply that Shaffer may also be
criticizing conventional religions and belief systems. Throughout the play we
can also see Alan pick up different arbitrary snippets of the normal world and
incorporate these into his own faith, an act that mirrors the way in which we
also adopt the beliefs we find in the world around us. Ultimately, the
similarities that exist between Alan’s belief system and ours suggests that
which system you choose may be little more than a matter of perspective and
there is no objectively sensible or correct set of beliefs. Shaffer reinforces
this idea throughout the play by presenting a series of different value systems
which contrast with one another but each of which seems to be convincing,
natural and obvious to its believers, e.g. Franks socialism, the capitalism we
see in Alan’s work at the shop, Dysart’s ancient polytheism, the sexual
permissiveness of the 1970s represented by Jill. In some ways the play seems to
criticise Christianity most strongly, although this may just because it is one
of the most dominant and conservative belief systems of the time.
Page |
Quotation |
Explanation |
22 |
Dysart: “What does
he print?” Alan: “Double your
pleasure Double your fun With doublemint
doublemint Doublemint gum” |
This seemingly random
jingle from an ad that Alan reiterates for Dysart when he’s trying to have a
conversation with him accomplishes two things: on a basic level, it appears
random and illogical and suggesting Alan’s eccentricity. There is perhaps
also an aggression here that establishes an initial presentation of Alan as a
truculent teenager reluctant to be ‘cured’. However, this line also shows how
random snippets of what is representative of our “normal” capitalist,
materialistic society, where heavy emphasis is placed on the purchasing of
products as a demonstration of success and extension of personality. This is
represented by the ad attempting to promote doublemint gum. |
29 |
Alan: “Who said
religion is the opium of the people” [Alan giggles] Dysart: “Karl Marx” Alan: “No” Dysart: “Then who” Alan: “None of your
beeswax” |
“None of your
beeswax” is an expression frequently employed by his father to tell people to
mind their own business. Not only does Alan give an incorrect answer to the question
“Who said religion is the opium of the people” (he seems to think it is his
father rather than Karl Marx) it is clear that he has also absorbed the
expression ‘beeswax’. As a result of this we get glimpses into the world that
Alan has created for himself where he speaks in jingles and accredits famous
quotations to people that he knows, an obvious indication of the idea that we
build up a world-view based on the influences around us. |
31 |
Dora: “Actually they
thought it must be a god.” |
Alan has obviously
woven his mother’s stories into his own view of the world. This story is
about how cavalry riders in the crusades were initially thought of as gods
and, despite the probably apocryphal nature of this story, it is clear that
this becomes a central tenet of Alan’s faith in Equus as is seen most clearly
when he takes Nugget to the Field of Ha Ha and kneels before him as well as
feeds him sugar. |
32 |
Dora: “We’ve always
been a horsey family.” |
Again we can see how
Alan’s love for horses wasn’t independently developed. It seems to have
sprouted from his mother, (who in turn inherited it from her father) and
therefore we can see how Alan has been influenced by his mother’s love for
the animal. |
33 |
Frank: They’ve
always been thick as thieves. I can’t say I entirely approve- especially when
I hear her whispering that Bible to him hour after hour, up there in his
room. |
In this quotation,
Frank tells Dysart about Dora’s influence on their son, Alan. She is clearly heavily
involved in teaching Alan of religion. And later in the text we see how Alan
incorporates many of his mother’s ideas into his faith in Equus. |
45 |
Dysart: “But he
recovered when he was given the photograph of the horse in its place?” Dora: “He certainly
seemed so. At least, he hung it in exactly the same position, and we had no
more of that awful weeping” |
The substitution of
a picture of a horse for a picture of Jesus in chains by the foot of Alan’s
bed seems to imply how the religious fervour that Alan seems to have felt
towards Jesus has been redirected to the horse. Although this may seem
ridiculous at first, the parallels between how Alan worships Equus, his god,
and the way in which Christians pray to Jesus suggests a certain validity to
Alan’s belief. Furthermore, it is also meant to show that the objects or the
figures in which we invest our religious faith are somewhat arbitrary and, in
this light, how can we claim that a figure named Jesus is any less random
than a horse-god called Equus. |
48 |
Alan: “There was
sweat on my legs from his neck. The fellow held me tight and let me steer him
any way I wanted” |
Alan describes this
experience as sexy and it becomes clear that this experience has been
transformed into something not only sexual but also something that for him is
interchangeable with worship. Although it might seem random that Alan has
turned it may seem ridiculous to change the experience of riding a horse into
something echoing religious ecstasy, there is a plausibility in the fact that
this was an obviously significant childhood event and it is feasible that it
would have left an indelible mark on Alan’s psyche. Shaffer may also be
implying just how intricate and complicated human sexuality is, as sexual
satisfaction seems to combined with our lust for exerting power over others.
The exploration of this confused and darker side of human nature, along with
the exploration of the sexual satisfaction gained from submission, is
something that can be seen throughout the play, and this suggests that there
are hidden depths to all of our psychologies that we are uncomfortable
dealing with and which Shaffer is bringing to light. |
49 |
Alan: I wish I was a
cowboy. They’re free. They just swing up and then it’s miles of grass...I bet
all cowboys are orphans! ...I bet they are! |
Here we see how
watching Westerns on TV have influenced Alan into believing that cowboys are
free. The fact that Alan doesn’t really distinguish between the reality and
the televisual fantasy created in Saturday afternoon shows further underlines
the way in which Alan’s value system is a combination of elements taken
without much consideration from the world around him. |
49 |
No one ever says to cowboys
‘Receive my meaning’! They wouldn’t dare! Or ‘God’ all the time (mimicking
his mother.) ‘God sees you Alan. God’s got eyes everywhere-’ |
We can see that Alan
has clearly internalised this teaching from his mother as this is what
explains his blinding of the six horses, because
he is ashamed and worried that they witnessed him about to have sex with Jill. |
51 |
Alan: “And Legwus
begat Neckwus. And Neckwus begat Fleckwus the king of spit. And Fleckwus
spoke out of his chinkle-chankle” |
The way in which
Alan’s ‘prayer’ echoes the lists of genealogies that we find in the Old
Testament emphasises how Alan’s faith in Equus is heavily influenced by
Dora’s Christianity. Not only does this ridicule some elements of
Christianity but the childish words in the list also reiterates Alan’s
immaturity, forcing us to bear in mind that, after all, in many ways he is
still a child. |
51 |
He took a piece of
string out of his pocket. Made up
into a noose. And put it in his
mouth. And then with his other
hand he picked up a coat hanger.
A wooden coat hanger, and - and – Alan in mime, begins
to thrash himself, increasing the strokes in speed and viciousness. |
The act of
self-flagellation is undertaken in several religions and here we see how Alan
has borrowed and been influenced by this practice, and incorporated it into
his own religion. |
67 |
He showed me
nothing! He’s a mean bugger! Ride - or fall! That’s Straw Law... He was born
in the straw, and this is his law. |
The way in which the
last sentence is often sung in productions makes it seem hymnal and once
again draws a parallel between the Christian faith and Alan’s faith in Equus
reinforcing the similarity between the two religions and the way in which
Alan’s religion (superficially so different) has a lot in common with more
‘normal’ faiths. |
71 |
Alan: Give sugar Dysart: “A lump of
sugar?” [Alan returns to
nugget] Alan: His last
supper |
The scene clearly
echoes the Last Supper in the Bible and the act of taking communion in
church. The obvious parallel may increase the shock value of Alan’s actions
but it also shows that his beliefs are not random, there is a doctrine and a
structure that makes sense … and if a seemingly absurd idea like
horse-worship can be given a sensible structure then what’s to say that our
religion, other faiths which have a similar structure, are any more rational.
In addition the echo
between the name Equus and Jesus and the implied inter-changeability of
Nugget and Christ may be meant to suggest how arbitrary certain elements of
Christianity are. In some ways Jesus’ last supper could just as easily have
featured horses and lumps of sugar. |
73 |
My foes and His...
The Hosts of |
Using brand names as
his enemies, and in particular the brand names that were shouted at him in
scene 15, shows how Alan has also incorporated his own experiences into the
construction of his faith. The arbitrariness of these brands may also suggest
the pettiness of his hatred, as they are merely arbitrary names. |
74 |
Feel me on you! I
want to be in you! Now! - Bear me away! Make us One Person! |
The reference to
making us ‘one person’ not only calls to mind certain elements of Christian
doctrine but also echoes the childhood stories that Dora’s told Alan about
the horses in the crusades being mistaken for centaurs. In addition, however,
the sexual nature of this scene perhaps also reflects the way in which Alan’s
faith in Equus is built up out of his own desires as well as the various
influences to which he has been exposed. |
75 |
Dysart: “Why?... Why
me?... Why-ultimately-me?.. Do you really imagine you can account for me?” |
This is Equus’ challenge
to Dysart and it implies that Equus is just as worthy of worship as a figure
like Jesus. This suggests that Dysart cannot see the justification in killing
off this god to make Alan believe in another. Hence the sense of doubt in the
question “Do you really imagine you can account for me?” Alan’s belief system
may appear arbitrary but once Dysart has dissected it and realised that it is
structured in the same way as any other valid system, he is forced to call
into question those other belief systems and our of ideas of normality. |
76 |
“DYSART: .... A child is born into a
world of phenomena all equal in their power to enslave. ... Suddenly one
strikes.” |
Here, Shaffer outlines the purely
circumstantial ways in which value systems and beliefs are built. All
“phenomena” are “equal in their power to enslave” - it is only a question of
which ones. Shaffer implies that Alan’s religion, though unorthodox and
disturbing, is parallel to ours as all value systems are created in the same
way. The personification used in describing how “one strikes” highlights the
aggressive, almost predatory way in which we are influenced by outside
factors, and the helplessness of those subject to these influences. |
92 |
Alan: “All around me
they were looking. All the men - staring up like they were in church” |
The attitude of the
men in the cinema while watching the scene from the skinflick suggests that
our worship of the flesh and sexuality can easily be elevated to the level of
the religious. Thus it is perhaps not so strange that Alan finds a sexual
appeal in horses. An idea reinforced by Jill’s admission that young girls
also find horses sexy. This scene also
explores the way in which our sexual desires seem to be intimately tied up
with attitudes to submission as these men are prostrating themselves before
an image of reverence in the same way that a congregation prostrates
themselves in church. |