How Does Peter Shaffer Use Themes As Devices In Equus To Validate The Unpleasant.

It is difficult to suggest what the comfortable view of normal is as there are many different perceptions, which should be considered. In the beginning of �Equus’ one considers the character of Martin Dysart to be normal as he rarely strays outside of societies boundaries. However, as we move through the play one discovers there is much more to Martin Dysart than once thought. In reality the themes dealt with in �Equus’ challenges our own sense of what is normal. They are as equally as shocking to Dysart, yet made justifiable by Alan Strang’s worship for Equus, the god of horses. This is why �Peter Shaffer’ uses �Equus’ as a sort of device to standardize and make the strange acceptable. He does this by introducing a sense of innocence into the character of Alan Strang. This innocence is brought out through Strang’s worship and love for Equus. By exploring the mind of Strang we are forced to question the importance of normality in comparison to one’s individuality. However it’s the many different types of uniqueness that essentially forms society. Thus meaning that there is little room in the fabric of society for the �comfortable view’ of what is normal.

In the beginning Martin Dysart is portrayed to fit the �comfortable view’ of what is normal. He is illustrated as a honourable man who rarely strays from the confines set by society. However we discover through conversations with Hesther and personal reflections that he is deeply troubled. Suddenly our view of Dysart is compromised as both us, as an audience, and Dysart question his normality. Along with this our perception of normality is skewed as we wonder whether there is such a quality. Dysart feels that by removing one’s uniqueness he is destroying part of their personality, simply so they can fit the comfortable view of what is normal. As children we care little for the normality set by society. �The normal is the good smile in a child's eyes. There's also the dead stare in a million adults. It both sustains and kills, like a god.’ As we begin to mature that ignorance is lost and is replaced with the �dead stare’ of similarity. Although abstract normality adopts god like features and begins to dominate our lives. It is �The average made lethal.’ Sadly, it is unescapable and whether we accept it or not it will stay with us forever. Through the help of Strang, Dysart acknowledges this and realises his job consists of �removing the good smile in a child eyes’. He feels as though by limiting one to the constraints of normality part of their humanity is lost. This is shown through his dream on page 24. This dream is the first time that the audience can see Martin Dysart’s transition from the comfortable view of what is normal to a more unique view on life.

�Peter Shaffer’ uses �Equus’ as a device to standardize and make the abnormal acceptable. In reality many of the themes and actions dealt with challenge our sense of normality so by introducing an element of innocence into Strang’s character, we as an audience, are suddenly forced to connect and sympathise for him. The innocence is ultimately illustrated by Strang’s worship and love for Equus. Without the element of innocence it would be difficult to forgive his defiance of the �comfortable view’ of what is normal. Yet without the defiance we would be unable to forgive him for fitting the societies view of what is normal. Essentially this innocence is the element, which balances the personality of Alan Strang beautifully. Interestingly these are the very elements that Dysart is lacking. �That's what his stare has been saying to me all this time: 'At least I galloped - when did you?’ This is another sign of Dysart undergoing a change as he realises that there is very little to his repetitious lifestyle. He dreams of escaping his tedious life and explore the many layers of Ancient Greece. Yet this does not suit the comfortable view of what is normal

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