An Analysis Of Shaffers Equus

An Analysis Of Shaffers genus genus genus EquusThe compulsionon is in two acts, the stolon consisting of twenty- ace the second of thirty-five dioramas. It is non realistic in that it includes flash approves performed onstage (like a movie). How eer, it is an explanatory one with Shaffers nones while read. It is a revive consisting of individuals preferably than types. Each character has his/her individuality along with his/her ingest perspective of carriage. We interpret round the characters from what separate characters discern round them from what they tell more or less themselves as well as from Shaffers explanation ab surface them within p atomic number 18ntheses. Although it is an open finish guide it goes far from the lineer plot structure with its amazing climax. The forward and retracted follow up of the shoo-in makes it a unlike one. Moreover while the trick has speech when the cadence is present, it contains action when it is secondward. It is a sym bolic play and s death intelligence service be c ei at that placed a journey into the mind of Alan Strang, a s exampleeen yr old boy. It analyzes Alans religious obsession with dollar bills which is based on his conglomerate feelings payable to his religious background and his increasing sexual side as a teenager. This confusion of pietism, in fact, is a progeny of virtu entirelyy signals from his religious, middle-class induce and his atheist, functional-class capture. Alans perception of righteousness and sexuality is conflicted and his way of praying becomes a reverence of a dollar bill spirit named Equus. He ends up with blinding sextette one dollar bills in the stable because of the fact that they urinate watched him with a girl. Rosefeldt states that Equus is godly by a real-life event of which the author had very little details. mortal told Shaffer about a boy who blinded horses (Rosefeldt 89). Equus, the horse gradually becomes a source of liberty and wo rship for Alan. As he worships Equus passionately, Alan goes apart from cosmos habitual.There argon two main characters in the play, Martin Dysart and Alan Strang, the protagonist. time the play is Alans story, it soon becomes Dysarts story, too. Dysart is a psychiatrist and is commanded to treat Alan Strang. Dysart admits to treat Alan as a patient, be lieving his lawyer friend Hesther Salomon that the boy has close to thing special. In consummation I, the earshots learn that Alan comes from a Christian incur Dora Strang and an atheist father vocal Strang who live argument in agreeing how to raise Alan. Alans mother tries to impose righteousness on Alan and does not avoid talking about sex as well. As he grows up and becomes a teenager, his mothers rowing become perplexing for him. Alans obssesion with the horses is actually a typical result of his mothers wordsDora. I utilise to tell him a funny thing about falling forth horses. Did you know that when Christian cavalry depression appeared in the New World, the pagans concept horse and charger was one someone?Dysart. Really?Alan. (sitting up, amazed) One person?Dora. Actually, they thought it must be a god.Alan. A godDora. It was save when one chafer fell off, they realized the truth.Dysart. Thats fascinating. I never perceive that before . . . Can you remember all(prenominal)thing else like that you may have told him about horses.Dora. Well, not very. They are in the Bible of course. He saith among the trumpets, Ha, ha.Dysart. Ha, ha? (Equus 11)Dora has withal let Alan watch some Western films without his fathers knowledge (Equus 12). She is the one in the play introducing the word equus stating that it is a Latin word for horse by which Alan is fascinated since he has not heard a word with two Us (Equus 12). As for wienerwurst, he has never approved of his married woman teaching Alan Bible since he is an atheist. For Frank, Alans psychological science has been corrupted beca use of Doras teachings of Bible.Alan has been having nightmares in which he keeps saying Ek . . . Ek . . .Ek (Equus 14). Dysart first-class honours degree tries psychotherapy to learn the reasons for Alans problems. However, those therapies consequently reveal some interesting clues about Dysarts own problems. Alan is a clever boy and he tries to forge on Dysarts psychology in the way Dysart doesDysart. Do you ambitiousness often?Alan. Yes, do you?Dysart. Yes. Do you have a special aspiration?Alan. nary(prenominal) Do you?Dysart. Yes. What was your dream about last night?Alan. banking concern remember. Whats yours about?Dysart. I utter the truth.Alan. Thats the truth. Whats yours about? The special one.Dysart. Carving up children. (Equus 14)Shapiro who analyzes the play technically, suggests for the relationship between Dysart and AlanThe symbolic aspect is in the phrases Dysart uses to grade the film in motion. What they symbolize is Dysarts dishonesty, as Alans symbolic e vent overly revealsAlan is acting a symbolic event with an iconic, truculent aspect, the object of which is the audiences designation of Dysarts dishonesty In this case the audience knows from the Nurses forward indexical event that Dysart knew about Alans nightmares. Thus, they should recognize that Dysart began the interview with a lie. Consequently, the interview toleratenot proceed until Alan turns indexical. He will do this once Dysart becomes truthful. Hence, Alan suggests that they interview each other. (Shapiro 111)In the tenth part scene of the first act, the audience is again introduced to a flashback. During this second therapy, Alan goes back to the time when he was six years oldHorseman. Whoa . . . Whoa in that respect Whoa . . woeful I didnt see you . . . Did I scare you?Alan. NoHorseman. ( feeling downward(a) at him) Thats a terrific castleAlan. Whats his name?Horseman. Trojan. You can stroke him, if you like. He wont mind. (Equus 19)In this scene Alans parent s arrive and warn the horseman. His father takes him from the horsemans shoulders and they gain angry with the horseman. Frank who is strictly against riding horses is sad to see Alan hurt, besides Alan is glad to have ridden a horse. He explains his act saying I wanted to laugh (Equus 20). It is here clear that Alan as a boy, demands to have joy no matter how his parents believe. It is the passion destroyed by his parents.What Dysart really wants to learn is the reason why Alan blinded the six horses in the stable. As a psychiatrist, Dysart wants to go into the deepest propertys of Alans psychology in guild to give some meaning to this act of Alan. However, Alan neither explains why he blinded the horses nor tells something that can help Dysart find some reason behind it. He continues playing with the psychiatrist.In the eleventh scene we are told that Alan, when he was twelve, insisted on purchasing the picture of Christ loaded down with chains with his pocket money, and suspension system it at the foot of his whap where he could see it last thing at night (Equus 21). However, Frank, the atheist father tore and threw it onward. Instead of the picture, he put a photograph of a horse which made Alan happy.In the fifteenth scene, Dysart has in the long run managed to have more clues about Alans situation. He has learnt from Frank about a girl in Alans life and decided to investigate some questions about the stable. Alan takes the audience to the previous year when he first talked to Jill a middle-class girl in her early twenties. At this time, Alan is works in a shop and Jill has come to the shop in pitch to buy some blades for a clipping machine to clip horses (Equus 29). Jill is working in a stable owned by Harry Dalton. She suggests Alan ride horses that Alan is here hesitant since he knows his parents would be against it. He finally agrees to go to the stable and meet Dalton. As soon as he arrives the stable, Dalton tells him about the hors es and teaches him how to ride a horse. Here we are introduced to Nugget, a horse which will soon have an important part in the play. When Alan is go forth alone with the horses in the stable, his passion returns. What Dysart wants to learn is whether Alan had a date with Jill however Alan is again escapist in his answers and he instead tries to question Dysart about his own dates. It is in scene seventeen where the audiences come to realize the privileged conflict of Dysart. Alan tries to catch Dysart from his weakest point. Dysart has never had some(prenominal) sexual relationship with all women in his life, including his married woman. He is nervous when he is asked why he does not have any children and short need cigarettes. His soliloquy in this scene is a clear evidence about this psychiatrists psychologyWhat am I, and then? . . . Wicked little bastard Alan knew exactly what questions to try. Hed actually marched himself round the hospital, making enquiries about my wi fe. Wicked and of course, perceptive. Ever since I made that crack about carving up children, hes been aware of me in an absolutely specific way. Of course, there is zipper novel in that. Advanced neurotics can be daze at that game. They aim unswervingly at your area of maximum vulnerability. . . Which I suppose is as cheeseparing a way as any of describing Margaret. (Equus 32)The next scene reveals Dysarts problems with his wife Margaret. Dysart explains Hesther why they did not have any children. He blames Margaret for this. He states that Margaret sits beside their salmonpink, glazed brick fireplace, and knits things for orphans for him, his wife is a domestic nut who is the Shrinks Shrink (Equus 34). While Dysart likes to read about Ancient Greece, Margaret hates such things. Their labor union is including two divers(prenominal) persons, being very similar to Alans parents union. Shaffer prefers to give this marriage from one point of view that of the husband. We never meet the wife. Dysart is unhappy and awkward in his marriage. He tells his friend, HestherDo you know what its like for two bulk to live in the same house as if they were in different parts of the world? Mentally, shes always in some drizzly kirk of her own inheriting and Im in some Doric temple clouds tearing throuh pillars eagles demeanor prophecies out of the sky. (Equus 34)In this scene Dysart seems to cure himself it is his confrontation with his own upset psychology. He is obsessed with the concept of normal. According to Hesther, Dysart is trying to restore Alan to a normal life and Dysart is confused when he thinks about the meaning of normal and being a normal person. For Hesther, it is the smile in a childs eyeball (Equus 35), and for Dysart, it is also the dead stare in a million grownups (Equus 36). Rosefeldt explains Dysarts psychology as followsMore than any other character, Dysart is aware that he is pin down in a chain of substitutions. Dysart longs to reach the passion of pagan worship. His wife reduces the sacred acrobats to absurred 50 freaks and equates the heroes of the Iliad with ruffians 50. He cries out, Oh the primitive world. . . what instinctual truths were lost with it 50. Alienated and alone, Dysart knows he has lost contact with these primitive truths and is hopelessly trying to regain them. For communicating with the gods, Dysart substitutes the secondary experience of reading books on the cultural shelf 50. Instead of comer up to the gods, he brings home Kodachrome snaps of Mount Olympus 50. The power of the gods rests in the classic pantheonAlso, Dysart touches a reproduction statue of Dionysus 50. The power and essence of the god is replaced by the physical presence of the god, which is replaced by the statue of the god, which is replaced by a reproduction of the statue. (Rosefeldt 92)Dysart, in order to learn more about Alan, now chooses hypnosis technique and Alans problems are revealed as followsDysart. presen tly, Alan, youre going to answer questions Im going to ask you. Do you understand?Alan. Yes.Dysart. Good. Now I want you to think back in time. You are on that beach you told me about. The tide has gone out, and youre making sandcastles. Above you, staring down at you, is that great horses head, and the cream dropping from it. Can you see that?Alan.Yes.Dysart.You ask him a question. Does the chain hurt?Alan.Yes.Dysart. Do you ask him aloud?Alan. No.Dysart. And what does the horse say back?Alan.Yes.Dysart.Then what do you say?Alan.Ill take it for you.Dysart. And he says?Alan.It never comes out. They have me in chains.Dysart.Like Jesus?Alan.YesDysart.Only his name isnt Jesus, is it?Alan.No.Dysart.What is it?Alan.No one knows simply him and me.Dysart.You can tell me, Alan. Name him.Alan. Equus. (Equus 37)Alan is now unconscious with the effect of hypnosis. In his imagination, the horse is chained like Jesus. Now it is clear that Alans imagination has been influenced by his mothers tea chings of Bible as stated before by Frank. For Alan, Equus lives in all horses and is chained because of the sins of the world (Equus 38). When Alan goes back to the time he was twelve, looking at the picture of Equus, Dysart asks him questions about the stable. The stable is the temple of Equus where Alan washes and brushes him. Equus wants to be ridden by Alan exclusively he does not show Alan how to ride him He showed me nothing Hes a mean bugger Ride or fall Thats Straw Law (Equus 39).Equus is no pagan nonpareil he is unmistakably the Judeo-Christian God, born in the straw 39 (stable of Bethlehem) and erosion the sandals 40 of Christ. As Christ suffered for man patient of, Equus takes the punishment for Alans sake. The Ark of the Covenant symbolizing the swerve between God and man becomes the Ark of the Manbit 41, which Alan holds in his mouth. The lump of sugar becomes Equus Last Supper 42. Alan beckons Equus, Take my sins. Eat them for my sake 43. Equus is Jesus, the Son of God, the deliveryman who takes away the sins of the world. Just as Christ launched his attack against the House of Mammon, Alan launches Equus against their mutual foes The Hosts of Philco and The Hosts of Remington, the rulers of the shallow and materialistic world of substitutions. Equus is Alans redeemer, the Godslave 43. (Rosefeldt 92)Alan rode Equus either three weeks in Daltons stable. He stole the stables keys and went there secretly to ride Equus. Dysart wants Alan to remember a scene in the stable He throws out his arms and shows himself fully to his God, bowing himself before Nugget (Equus 41). Alan is pleased to touch Nugget but he is distressed when he remembers his eyes. He gives Nuggets sugar, the last supper before Ha ha. Here Alan whispers his Gods name ceremonially Alan. Equus . . . Equus . . .Equus (Equus 42), and he says Stay, Equus. No-one said Go . . . Thats it. Hes good. Equus the Godslave. Faithful and true(42).The Equus voice increases in massesAlan. (S houting) WEE . . . WAA . . . WONDERFUL . . .Im squiffy Stiff in the windMy mane, stiff in the windMy flanks My hoovesMane on my legs, on my flanks, like whips birthday suitRawIm raw RawFeel me on you On you On youI want to be in youI want to BE you forever and ever Equus, I cope youNow Bear me awayMake us One personHe rides Equus crazily (Equus 44)The end of Act I is the climax, a strange combination of religion and sexuality. Equus is now the god that rules Alan. The word AMEN ends Act I (Equus 44).In Act II, Frank is interestingly absent in the play. (That may be symbolic but we do not know why). Dora seems to realize her faults in rising Alan. She comes to see that it is not the child but the parent who is faulty. She sees Alan as a little victim who has done nothing at all (Equus 47). However in her speech to Dysart, she strangely puts the blame on Alan and blames Dysart for wondering(a) her family as if they are guiltyDora. (ignoring him more and more urgently) Look, Doctor you dont have to live with this. Alan is one patient to you one out of many. Hes my son. I lie awake every night thinking about it. Neither of us sleeps all night. You come to us and say Who forbids television? Who does what behind whose back? as if we are criminals. Let me tell you something. Were not criminals. Weve done nothing wrong. We loved Alan. We gave him the best love we could. every(prenominal) right, we quarrel sometimes all pparents quarrel we always make it up. My husband is a good man. Hes an undecomposed man, religion or no religion. He cares for his home, for the world, and for his boy. Alan had love and care and treats, and as much fun as any boy in the world. I know about loveless homes I was a teacher. Our home wasnt loveless. I know about privacy, too not invading a childs privacy. every last(predicate) right, Frank may be at fault there he digs into him too much but nothing in excess. Hes not a bully . . . (Equus 47)This speech of Dora reveals both h er and Franks faults although she typically insists that they have been good parents to Alan. Shaffer uses this technique for many characters in this play in order to be effective The character is here revealing herself through her own words that is to say Shaffer lets the character talk about herself in order to discover objectivity. Dora, the religious mother lastly puts the blame on the Devil thinking that Devil came to Alan. She is portrayed as a typical irresponsible mother who is unaware of the process her son grows up I further knew he was my little Alan, and then the Devil came (47). Both of the parents fail in dealing with their teenager son. It is a step of Alan for adolescence in which Alan is learning about life. Parents quarrelling is not something as trivial as Dora thinks. It really affects the child since he waistcloth between two different versions of beliefs, two different truths those of the mother and of the father.Alans crisis has in fact begun when Jill Mas on attempted to seduce him one night when Alans horse god, Equus was there in the stable. Alan blinds six horses with a metal plait (Equus 3) in the second act of the play and it is seen as a consequence of his guilt and shame. Although he does not want to remember anything about Jill, Dysart makes him tell about all at last. It is the most important flashback later on the one about Equus. Dysart encourages Alan to remember it in order to get over it. Everything begins with Jills inviting Alan out. Although he has to go home, he accepts her offer and they go to the cinema. At the cinema, Alan tells Jill, there was no girl except for her. Soon, it is understood that the film is a pornographic one. Dysart asks him Was that the first time youd seen a girl naked? and Alan says Yes (Equus 58). Then suddenly, Alan realizes that his father is at the cinema, too. With the fear of being caught at such a film, he tries to disguise himself.When he is caught, Frank shouts at Alan and the thr ee leave the cinema. Outside, Alan tries to speak to his fatherAlan. I I Ive never been there before. Honest . . . Never . . .(to Dysart) He didnt seem to hear. Jill tried.Jill. Its true, Mr.Strang. It wasnt Alans idea to go there. It was mine. (Equus 59)Alan. (to Dysart) The bus wouldnt come. We just stood and stood . . . Then suddenly he spoke.Frank. (stiffly) Id like you to know something. Both of you. I came here this night to see the Manager. He asked me to call on him for business purposes. I kick the bucket to be a printer, Miss A picture house needs posters. Thats entirely why Im here. To discuss posters. While I was waiting I happened to glance in, thats allI had no idea they showed films like this. Im surely going to pass up my services.Jill. (kindly) Yes, of course.Frank. So long as thats understood. (Equus 59)Interestingly enough, Frank explains why he himself is there instead of asking Alan why he is there. He has certainly come to the cinema for the same reason wi th Alan and Jill. Thus Alan and Frank are scared of each other. Frank leaves them and Alan stays with Jill. More importantly, Alan has been now introduced to the adult life with the film. He wants to make love with Jill. She takes Alan to the Stables because they cannot go to Alans or Jills house. Alan does not want to go to the Stables he prefers a home.Alan. Why not your place?Jill. I cant. Mother doesnt like me bringing boys back. I told you . . . Anyway, the Barns better.Alan. NoJill. All that straw. Its cosy.Alan. NoJill. Why not?Alan. ThemJill. Dalton will be in bed . . . Whats the matter? . . . Dont you want to?Alan. (aching to) YesJill. So?Alan. (desperate) Them . . . Them . . .Jill. Who?Alan. (low) Horses.Jill. Horses? . . .Youre really dotty, arent you? . . . What do you mean?He starts shakingOh youre freezing . . . Lets get under the straw. Youll be warm there.Alan. (pulling away) No (Equus 62)Alan does not want to be seen by the horses since he thinks it would be a shame ful act according to his religion. Although Jill shuts all the doors in order not to be seen by the horses, he is not comfortable. Alan cannot help but think of Equus and he sees Equus instead of Jill. Thus, his attempt to make love with Jill fails. Angrily, he shouts at Jill Get out (Equus 65). His psychology in this scene is horribleAlan. (to Dysart) He was there. Through the door. The door was shut, but he was there . . .Dysart. Laughing?Alan. (to Dysart) Mocking . . .Mocking . . .Standing downstage he stares up towards the tunnel. A great silence weighs on the square.(To the silenceterrified) Friend . . . Equus the openhearted . . . The merciful . . .Forgive me . . .Silence.It wasnt me Not really me. Me. . . Forgive me . . .Take me back again beguile . . . PLEASE (He kneels on the downstage lip of the square, still facing the door, huddling in fear) Ill never do it again. I rove . . . I swear . . .Dysart. And He? What does He say?Alan. (to Dysart whispering) Mine . . . Youre mine . . . I am yours and you are mine . . . (Equus 67)Equuss Nuggets eyes are rolling and Alan is sure that he has seen them make love. look . . . White eyes . . . never close Eyes like flames coming coming . . .God seest God seest . . . NO . . . (Equus 68). Alan stabs out Nugget and other five horses eyes. He yells in hysteria as he collapses on the ground (Equus 68).Dysart is about to finish his process of normalizing Alan. However he does not know whether he should be happy to have this patient cured. He calls it madness (Equus 68). In the end, Dysart appears to have cured him.Equus is a troubling play about a psychiatrists struggle to understand the passionately conceived but torturing personal mythology of Alan, a disturbed adolescent. If a psychologist of religion had gone after the young mans associations to G-o-d, he or she might have retrieved references to the pallid ill-used God of Alans parents, but would likely have missed Alans dramatic psychical creation of a personal diety he called Equus. Although it might be argued that this is the kind of exceptional case that falls more into the psychopathology of religion and is no basis for generalization, I am more and more struck by how distinctive and sometimes quite original are the spiritual formulations of individuals. (Mc Dargh 90)The play really includes the idea of passion versus reason. It is about a psychiatrist who thinks he can solve everything by reason and at the same time about an adolescent who is filled with passion but forced by his family to leave his passion. The battle of passion and reason in the case of Alan seems to end with the defeat of passion however, Shaffer certainly prefers a combination of two. It is not only Alans but also becomes the inner conflict of Dysart. While the horses represent freedom and sexuality, Martin Dysart represents reason as a doctor. During the play, the two characters have difficult times. Dysart shows a change in his attitude towards passion . As for Alan, he is treated by the psychiatrist to become normal. Alan is caught up between his own creation of religion and what is expected by him. He has to feel himself acceptable (Equus 68) since reason alternatively than passion is what is accepted by society. Dysart lacks passion and is jealous of Alan (Equus 50) he is disquieting in this process of normalizing. He gradually gets worried that he should not cure Alan because this would be the end of Alans passion, so he does not want to give an end to that passion which he lacks but desires. Dysart confesses to Hesther, that boy has know a passion more ferocious than I have ever felt in any second of my life. And let me tell you something I envy it (Equus 50). Dysart is thus obsessed with passion saying Passion, you see, can be destroyed by a doctor. It cannot be created (Equus 69).It is a disturbing play in which Shaffer makes use of sound effects to make it psychologically effective. The horses are performed by actors w ho wear horse masks. As for the scene props, Shaffer makes use of wanton in order to accentuate his themes (Innes 228). Light is used in the play as an indication of Alans psychology. There are dream sequences, and a scenic structure that cuts across the logic of time as well as cause and effect following the irrational associations of the subconscious, plus ritual chanting, conventionalised masks and mythic archetypes (Innes 228). Shaffer ignores the three unities of Aristotle there are scenes belonging to different places and different times and there is no unity of action. However, Shaffer directly connects the past action of the play to the plot of present events and the scenery connects more with the psychological life of the character than to the surface plot.As for the setting, it changes from scene to scene it is both internal and external even in a single scene being both internal and external. It begins when Alan is seventeen years old and goes back to the previous yea rs.The point of view is also variable Shaffer lets the audience see the things from each characters point of view and Shaffer uses the omniscient narrator in order to emphasize each point of view. The play is about an adolescent who has deep complicated conflicts in his relationships with his parents and his first flirt Jill. The play is not only an exceedingly useful source book for an understanding of madness and family processes, it is also an program line of the dramatherapists long-held credo that art can tell us things that science cannot (Davis xiii). Shaffer is thriving at portraying the psychology of characters and Equus is a good work of drama in which the themes of passion, reason and worship and the idea of normal and atypical are linked by Shaffer in order to make his audience question their beliefs and society.