Peter Shaffer’s 1973 play, Equus, explores incomprehensible violence against animals as an indictment of a society where the human ability to feel true passion is dulled, the human relationship with the natural world a distortion of nature. When I rediscovered it in my local Oxfam bookshop, I knew I’d revisit it and pass it on as one of the works of fiction that has had an impact on me. Equus goes to ClimateCultures Member Ruth Garde for her recent contribution to our series A History of the Anthropocene in 50 Objects, and here is my review.
approximate Reading Time: 11 minutes
“One great thing about being in the adjustment business: you’re never short of customers.” The world keeps sending psychiatrist Martin Dysart customers: the children he’s come to see as being damaged by that world, it judges them as damaging to it. “One more dented little face. One more adolescent freak. The usual unusual.”
Introducing Equus, Peter Shaffer mentions the risks in reproducing a written text. Not simply that the play obviously consists of so much more than the words: the gestures, the lighting and the ‘look of the thing’; but that the printed book “can imprison a play in one particular stylisation … Rehearsing a play is making the word flesh. Publishing a play is reversing the process.” Dysart seems to feel the same way about his own work: rendering the living spirit back into inoffensive flesh and bones.
A play that says more than once that “extremity is the point” begins with crisis. Magistrate Hester Salomon pleads with Dysart to take personal charge of a 17 year old boy who has committed a crime her colleagues want to punish him severely for.
DYSART: Why? What’s he done? Dosed some little girl’s Pepsi with Spanish Fly? What could possible throw your bench into two-hour convulsions?
HESTHER: He blinded six horses with a metal spike.
[A long pause.]
Shaffer said that he’d been driving past a stables one day when a friend told him about just a crime, which he’d heard about at a dinner party. “He knew only one detail, and his complete mention of it could barely have lasted a minute – but it was enough to arouse in me an intense fascination.” That real crime became the trigger for a play portraying a world which has so destroyed people’s ability to feel passion that it leads to incomprehensible acts.
Alan’s distraught mother, Dora, resists any implication that the blinding was somehow the result of the boy’s upbringing, of society.
DORA: We loved Alan. We gave him the best love we could. All right, we quarrel sometimes – all parents quarrel – we always make it up. My husband is a good man … He cares for his home, for the world, and for his boy … No, doctor. Whatever’s happened has happened because of Alan. Alan is himself … If you added up everything we ever did to him, from his first day on earth to this, you wouldn’t find why he did this terrible thing – because that’s him; not just all our things added up.
Harry Dalton, the owner of the stables where Alan worked at weekends, insists the boy was a model employee – right up to the sudden, vicious attacks. “No, he was bloody good. He’d spend hours with the horses cleaning and grooming them, way over the call of duty. I thought he was a real find.” This in spite of Alan’s one oddity; apparently, he never rode the horses, although that perk was the reason most stablehands took the job. Asked why Alan should be so different, Dalton replies: “Are you asking me? He’s a loony, isn’t he?”
The indispensable, murderous God
Hester wants Dysart to bring back the ‘normal’ boy within the tormented teenager. But the psychiatrist finds himself resisting more and more the call of the tame.
DYSART: The Normal is the good smile in a child’s eyes – all right. It is also the dead stare in a million adults. It both sustains and kills – like a God. It is the Ordinary made beautiful; it is also the Average made lethal. The Normal is the indispensable, murderous God of Health, and I am his Priest. My tools are very delicate. My compassion is honest. I have honestly assisted children in this room. I have talked away terrors and relieved many agonies. But also – beyond question – I have cut from them parts of individuality repugnant to this God.”
Dysart – middle-aged, working at a relentless conveyor belt rolling cases in through one door and out through another – is, of course, in the midst of his own existential crisis. Hester, horrified by his despairing self-awareness, tries constantly to coax him back into seeing the real benefits he delivers, every day, to the children he cares for. We begin to wonder who she thinks will be the saving of whom: Dysart of Alan Strang, troubled and troubling youth; or Alan of Martin Dysart, world-weary psychiatrist careering down into his own annihilation?
Dysart, however, is having none of it. He’s haunted by a dream that Alan’s arrival has triggered, and for which his own fascination with the ‘civilisation’ of Ancient Greece provides the setting.
DYSART: That night, I had this very explicit dream. In it I’m a chief priest in Homeric Greece. I’m wearing a wide gold mask, all noble and bearded, like the so-called Mask of Agamemnon found at Mycenae. I’m standing by a thick round stone and holding a sharp knife. In fact, I’m officiating at some immensely important ritual sacrifice, on which depends the fate of the crops or of a military expedition. The sacrifice is a herd of children: about 500 boys and girls. I can see them stretching away in a long queue, right across the plain of Argos … It’s obvious to me that I’m tops as chief priest. It’s this unique talent for carving that has got me where I am. The only thing is … I’ve started to feel distinctly nauseous. And with each victim, it’s getting worse … And then, of course, the damn mask begins to slip.
Alan, meanwhile, is running rings round him, deflecting all attempts to uncover the dark reason for blinding the horses he’d cared for. The psychiatrist interviews Alan’s parents, picking apart their differences – class, temperament, religion. He wait, impassive at first as Alan bombards him with constant singing of adverts he’s learned from the forbidden TV, then angrily as the boy makes deep incisions of his own, with barbed comments about the doctor’s childless and sterile home-life.
Religion would seem to be at centre and bottom of Equus: Dysart’s fascination with the primitive rites of ancient Greece, his revulsion at the Normal deity of modern living; Dora Strang’s Christian faith and tutoring of her son against the wishes of her equally devout atheist husband. Gods exert their powerful pull as mortals continually recreate them.
But it’s passion that’s the real heart – buried and beating in in Alan, exposed and dying in Dysart. ‘Passion’ is ‘suffering’ – the Passion of Christ – but, derived originally from the Latin pati ‘to endure, undergo, experience’, later came also to mean ‘strong emotion, desire.’ Experience, suffering, desire – and all the animist, conventional and secular religious forms that evoke, console, contain, inhibit and incite these in their different ways. Alan has imbibed and rejected something of his mother’s religious faith and his father’s ‘rigorously self-improving’ one. And society’s consumerist religion is proselytised through the TV he’s supposedly banned from watching and reinforced by the customers at the electrical shop where he works during the week; selling brand names to satisfy the already well-equipped citizens of techno(theo)logical society.
Alan’s father preaches on TV’s corrosive effects:
FRANK: You sit in front of that thing long enough, you’ll become stupid for life – like most of the population. The thing is, it’s a swiz. It seems to be offering you something, but actually it’s taking something away. Your intelligence and your concentration, every minute you watch it. … Mindless violence! Mindless jokes! Every five minutes some laughing idiot selling you something you don’t want, just to bolster up the economic system.
From all this, and from vivid if dreamlike childhood memories, Alan has created his own vital, ritualistic worship of his secret God, Equus: kneeling to the picture of a horse framed above his bed; slowly brushing the horses in the stables; secretly taking night-time rides on them. Riding is a worship to be offered raw and alone under the darkness of night, in unwatched fields of mists and nettles: human and animal both naked. Never in the genteel daytime rituals of ‘indulging in equitation’: animal harnessed, humiliated, un-natured; human civilised, ‘mastering’ nature.
At last, exhausted, he reveals his secret, miming for the psychiatrist how two beasts become one and ride out “against them all … My foes and His .. The Hosts of Hoover. The Hosts of Philco. The Hosts of Pifco. The House of Remington and all its tribe! … The Hosts of Jodhpur. The Hosts of Bowler and Gymkhana. All those who show him off for their vanity!”
DYSART: Without worship you shrink, it’s as brutal as that… I shrank my own life. No one can do it for you. I settled for being pallid and provincial, out of my own eternal timidity … Some pagan! Such wild returns I make to the womb of civilisation. Three weeks a year in the Peloponnese, every bed booked in advance, every meal paid for by vouchers, cautious jaunts in hired Fiats … such a fantastic surrender to the primitive. And I use the word endlessly: ‘primitive.’ … I sit looking at pages of centaurs trampling the soil of Argos – and outside my window he is trying to become one, in a Hampshire field!
Extremity’s the point
Although Alan has abstracted his passion into a mystical vision of Horse-become-God as enthralling as the God-become-Man and Man-become-God visions of Christian and Industrial religions, what Dysart sees at its core is a primal relationship between human and more-than-human. Far-removed from “the Normal world where animals are treated properly: made extinct, or put into servitude, or tethered all their lives in dim light, just to feed it!” He dissects the inhuman condition we’ve inherited, become (de)naturalised into, and recreate with every Normal thought and action and speech. Dysart knows he cannot keep Alan free from it. It’s what Dysart also wishes to free himself from – and feels insanely jealous of the boy for succeeding, if only temporarily and at a terrible cost to human and animal. More terrible, though, than the ‘proper’ relationship of humans and animals?
DYSART: I’ll give him the good Normal world where we’re tethered beside them – blinking our nights away in a non-stop drench of cathode-ray over our shrivelling heads! I’ll take away his Field … and give him Normal places for his ecstasy – multi-lane highways driven through the guts of cities, extinguishing Place altogether, even the idea of Place! He’ll trot on his metal pony tamely through the concrete evening – and one thing I promise you: he’ll never touch hide again!
Alan has confronted the world of fake reality and discovered his own sexual being at exactly the same time he realises the sexless world on offer in the desolating Normal of his parents’ lives, Dysart’s life and the lives of everyone he sees around him when the young woman he works with at the stables takes him on his first date, to “a skin flick over in Winchester! I’ve never seen one, have you? … All those heavy Swedes, panting at each other! What do you say?”
ALAN: The whole place was full of men. Jill was the only girl … All round me they were all looking. All the men – staring like they were in church. Like they were all a congregation.
Equus is a jealous God. Alan and Jill are discovered in the cinema by his father – revealed as a hypocritical consumer of what he’s brought his son up to beware. When Jill leads him away from the horrifying confrontation and takes him, inevitably, to the place they both know and can be alone together, she’s unaware that the stables are not just her secret place for sex but also his Holy of Holies. Naked with her, Alan sees his God watching through the eyes of the six horses. Equus sees all and punishes transgression, leaving Alan humiliated and, unable to act on his desire for Jill. Forcing her away, when Alan’s alone again with Equus, in despair he takes revenge on His all-seeing God’s earthly forms.
Shaffer’s intense fascination on hearing the brief, almost completely decontextualised account of the real-life horse-blinding was with a crime that “lacked, finally, any coherent explanation.” Meaning that we must all look for our own, incoherent, ones. But remember the one small detail that Shaffer did have: a crime his friend “had heard about recently at a dinner party in London.” More than likely a very ‘Normal’ dinner party, at which conversation, with the odd bit of spine-chilling news and thrilling gossip, took place over plates of animal flesh of one kind or another – although certainly not horse.
A thousand local gods
Returned to the Normal world – where “animals are treated properly” in that way rather than blinded with their own hoof picks – once Dysart has delivered on his promise to “heal the rash on his body … erase the welts cut into his mind by flying manes,” Alan “may even come to find sex funny. Bit of grunt funny. Trampled and furtive and entirely in control. Hopefully, he’ll feel nothing at his fork but Approved Flesh. I doubt, however, with much passion! … Passion, you see, can be destroyed by a doctor. It cannot be created.”
But, he tells the sleeping boy, “He won’t really go that easily. Just clop away from you like a nice old nag … When Equus leaves – if he leaves at all – it will be with your intestines in his teeth. And I don’t stock replacements.”
Dysart has confessed to Alan his own secret desire: to escape his work, his home.
ALAN: Where would you go?
DYSART: Yes. There’s a sea – a great sea – I love … It’s where the Gods used to bathe.
ALAN: What Gods?
DYSART: The old ones. Before they died.
ALAN: Gods don’t die.
DYSART: Yes, they do.
And earlier, when he told Hesther of his true passion for the world, his own form of worship, Dysart was offering it to us too. Knowing he’d never find it himself but warning us: try – find every way through, out of the Normal and into something more real.
DYSART: I wish there was one person in my life I could show. One instinctive, absolutely unbrisk person I could … stand in front of certain shrines and sacred streams and say ‘Look! Life is only comprehensible through a thousand local Gods. And not just the old dead ones like Zeus – no, but living Geniuses of Place and Person! And not just Greece but modern England! Spirits of certain trees, certain curves of brick wall, certain chip shops, if you like, and slate roofs – just as of certain frowns and slouches … I’d say to them – ‘Worship as many as you can see – and more will appear!’
It’s a passion not for the abstract but the particular vision – of place, of person and of the more-than-human world: a renewed and habitual relationship with habitat.
DYSART: And of all the nonsensical things – I keep thinking of the horse! Not the boy: the horse, and what it may be trying to do. I keep seeing that huge head kissing him with its chained mouth. Nudging through the metal some desire absolutely irrelevant to filling its belly or propagating its own kind. What desire could that be? Not to be a horse any longer? Is it possible, at certain moments we cannot imagine, a horse can add its sufferings together – the non-stop jerks and jabs that are its daily life – and turn them into grief? What use is grief to a horse? … I shove in my dim little torch, and there he stands – waiting for me. He raises his matted head. He opens his great square teeth, and says [Mocking] ”Why? … Why Me? Why – ultimately – Me? … Do you really imagine you can account for Me? … Poor Doctor Dysart!”
Find out more
I first discovered Equus through Sidney Lumet’s 1977 film adaptation, with Richard Burton as Martin Dysart and Peter Firth as Alan Strang. The screenplay was adapted by Peter Shaffer himself.
The script of the play is published by Scribner / Simon & Schuster (2005).
Questioning extremity? Space for creative thinking... "Extremity is the point," suggests Martin Dysart - in the world of Normal, where passion is flattened out, made safe, and industrialsed violence against animals (human and non-human) is hidden from sight. Freed from a need for any 'final, coherent explanation', what extremity might your creative practice bring to light?" Share your thoughts - use the Contact Form, visit the ClimateCultures Facebook page or write a response on your own blog and send a link!
Author: Mark Goldthorpe
Mark Goldthorpe is an independent researcher, project and events manager, and writer on environmental and climate change issues - investigating, supporting and delivering cultural and creative responses. View all posts by Mark Goldthorpe