Throughout the play Equus, written by Peter Shaffer, the story of a psychiatrist attempting to cure a teenager with a religious affinity towards horses is developed through 35 scenes. The inner conflicts between doing what society deems to be right versus one’s inner conscience are exhibited throughout Alan and Dysart’s interactions. Through the symbolic use of masks and equestrian equipment, Shaffer suggests that social norms influence people into becoming those of false identity and untrue to themselves.
Shaffer uses masks to represent the concealment of identity throughout the play. Early on, Dysart vividly describes the dream he had that is set in Homeric Greece. In this dream, he is a chief priest alongside other priests engaged in a ritual sacrifice. Dysart recalls, “And then, of course- the damn mask begins to slip… their gold pop-eyes suddenly fill up with blood- they tear the knife out of my hand” (Shaffer, Page 17-18). In this scene, Dysart is fearful of losing his preeminent spot in Greek society, which is illustrative of his own world. Because he is a psychiatrist, Dysart feels as if everyone is watching him, and aims to be the doctor that society wants him to be. The eyes of the other priests are representative of societal judgement, which Dysart is constantly being pressured by. The mask portrays Dysart’s covering of his true personality and how he fits in with others of the same occupation. This persona does not reflect his emotions towards his job, but instead pleases what other people believe he should be. He is fearful of the mask coming off to reveal his true identity and when it does, the rest of society no longer trusts or values his place in society. By using these elements, Shaffer is explaining that the pressure and judgement from society cause people to become those who they are not. Dysart did not want to lose his coveted place in society, and puts on a mask to keep him in that spot. The stage directions specifically selected by the playwright also illustrate the implementation of an alternate identity. The horses are not actually direct representations of the animal, but are instead indicative of actual people. Shaffer directs, “The horses actors enter, and ceremonially put on their masks-first raising them high above their heads” (Shaffer, Page 98). It is made evident that Shaffer desired the audience to see the action of the actors putting on the horse mask in order to highlight the fact that they are becoming something other than themselves. If the playwright had truly wanted to represent horses, a costume would have been kept on by the actors throughout the play but instead, he showcases the action of removing the mask and putting it back on. This motion reveals that the actors are taking on the personality and life of someone or something else, which would not truly be who they are. This would be because the pressure of society cause people to say and act in different ways than how they honestly are. In the end, masks are meant to call attention to the fact that people take on a second life when they are trying to conform to societal norms and cover up who they really are.
Chains are used by Shaffer to represent societal constraints. Later in the play, Dysart has a conversation with Alan about his God, Equus. Alan reflects on his time with Equus and Dysart asks, “Why is Equus in chains?”, Alan responds, “For the sins of the world” (Shaffer, Page 63). Equus is stuck in chains because he is put under the pressure of social conformity. The chains are tying Equus down, causing him to be a “person” that he is not. The reference to sins relates to all of the pressure being put onto Alan’s God. It seems as if Alan is pouring and investing all of the issues with society, which is why Equus is being placed with the burden of all of the societal pressure placed on Alan. Equus was the outlet that Alan was looking for in order to get rid of his problems with the world. Alan does not conform to society's norms, explaining why Hesther wants Dysart to treat him in the first place, but Equus was the “person” that fostered the abnormalcy in Alan’s life. In the ending scene, Dysart has finally come to peace with the decision made by Hesther to cure Alan. He describes all of the pieces of Alan’s life that would become “normal” after treatment and fit into society's expectations. Dysart’s ending sentiment is, “There is now, in my mouth, this sharp chain. And it never comes out” (Shaffer, Page 110). The reference Dysart making about the sharp chain is representative of a bit and bridle used by horses. This piece is put into the horse’s mouth and helps the handler maintain control over the animal. The fact that Dysart says that this chain exists in his mouth is symbolic as he himself is now being controlled by what society wants. Because Hesther feels that it is necessary for Alan to be cured, Dysart is being pressured to do something that he does not feel is the best decision. He is guilty about how he has been treating his patients in the past, which is why the chain will remain in his mouth. His true beliefs and emotions towards the treatment of his patients are now harnessed together, causing him to have an exterior personality that he does not necessarily agree with. The societal pressures of turning people into becoming normal had taken over Dysart, leaving him to be like every other person without a passion. Chains are used by Shaffer to exhibit the force of societal standards, and the way that they cause people to become those who they are not.
Shaffer also uses horse picks to explain the effects that societal pressures put on a person. Near the end, Dysart is engaged in a monologue where he is describing himself and his actions. He explains, “I stand in the dark with a pick in my hand, striking at heads!” (Shaffer, Page 110 ). Readers are already made aware that Alan had blinded 6 horses using a pick, where it then represents his ruthlessness and describes his decision making processes. The fact that Dysart then compares himself to using the same pick causes the pick as a symbol to develop an alternate meaning. The pick comes to represent the irrationality behind societal pressures and norms. Dysart is told by society to treat patients in a way that allows them to fit in with the rest of the world, where he is actually taking away their passion that makes them unique to themselves. The action of striking relates to the conflicts faced by Dysart as he is just going through the motions of curing each patient, not really understanding why he is doing it in the first place, and leaves him without a solution to his problems. The horse pick develops and changes its meaning throughout the play, where it ends up relating to the illogical pressures put on those deemed to be “abnormal” in order to make them into “normal” members of society.
Throughout Shaffer’s play Equus, masks, chains, and horse picks are symbolically used to explain that society guides “unusual” members of the same society into becoming people of false identity and fabricated personas in order to fit in. Alan used Equus as an outlet to pour his issues into, which in turn caused people to believe that he was crazy. Dysart wanted to keep the passion alive in Alan, but by curing him it would take it all away. Pressures put onto people who stand out curse them to become “cookie cutter” in order to please society and fit in.