Modern Society and Normality Theme Analysis

You see, I’m wearing that horse’s head myself. That’s the feeling. All reined up in old language and old assumptions, straining to jump clean-hoofed on to a whole new track of being I only suspect is there. I can’t see it, because my educated, average head is being held at the wrong angle. I can’t jump because the bit forbids it, and my own basic force—my horsepower, if you like—is too little. The only thing I know for sure is this: a horse’s head is finally unknowable to me.

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.

I wish there was one person in my life I could show. One instinctive, absolutely unbrisk person I could take to Greece, and 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 with names like Zeus—no, but living Geniuses of Place and Person! And not just Greece but modern England! Spirits off certain trees, certain curves of brick wall, certain chip shops, if you like, and slate roofs—just as of certain frowns in people and slouches’ …I’d say to them—‘Worship as many as you can see—and more will appear!’ …If I had a son, I bet you he’d come out exactly like his mother. Utterly worshipless.

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 his God, in both his aspects. Parts sacred to rarer and more wonderful Gods. And at what length…Sacrifices to Zeus took at the most, surely, sixty seconds each. Sacrifices to the Normal can take as long as sixty months.

Alan [ritually]: Equus—son of Fleckwus—son of Neckwus—Walk.
Here we go. The King rides out on Equus, mightiest of horses. Only I can ride him. He lets me turn him this way and that. His neck comes out of my body. It lifts in the dark. Equus, my Godslave! …Now the King commands you. Tonight, we ride against them all.
Dysart: Who’s all?
Alan: My foes and His.
Dysart: Who are your foes?
Alan: The Hosts of Hoover. The Hosts of Philco. The Hosts of Pifco. The House of Remington and all its tribe!
Dysart: Who are His foes?
Alan: The Hosts of Jodhpur. The Hosts of Bowler and Gymkhana. All those who show him off for their vanity!

A child is born into a world of phenomena all equal in their power to enslave. It sniffs—it sucks—it strokes its eyes over the whole uncomfortable range. Suddenly one strikes. Why? Moments snap together like magnets, forging a chain of shackles. Why? I can trace them. I can even, with time, pull them apart again. But why at the start they were ever magnetized at all—just those particular moments of experience and no others—I don’t know. And nor does anyone else. Yet if I don’t know—if I can never know that—then what I am doing here? I don’t mean clinically doing or socially doing—I mean fundamentally! These questions, these Whys, are fundamental—yet they have no place in a consulting room.

Hesther: I mean he’s in pain, Martin. He’s been in pain for most of his life. That much, at least, you know.
Dysart: Possibly.
Hesther: Possibly?! …That cut-off little figure you just described must have been in pain for years.
Dysart [doggedly]: Possibly.
Hesther: And you can take it away.
Dysart: Still—possibly.

Hesther: Then that’s enough. That simply has to be enough for you, surely?
Dysart: No!
Hesther: Why not?
Dysart: Because it’s his.
Hesther: I don’t understand.
Dysart: His pain. His own. He made it.
[Pause.]
[Earnestly.] Look…to go through life and call it yours—your life—you first have to get your own pain. Pain that’s unique to you…. He’s done that. All right, he’s sick. He’s full of misery and fear…. But that boy has known a passion more ferocious than I have ƒelt in any second of my life. And let me tell you something: I envy it.
Hesther: You can’t.
Dysart [vehemently]: Don’t you see? That’s the Accusation! That’s what his stare has been saying to me all this time. ‘At least I galloped! When did you?’ …[Simply.] I’m jealous, Hesther. Jealous of Alan Strang.

Poor old sod, that’s what I felt—he’s just like me! He hates ladies and gents just like me! Posh things—and la-di-da. He goes off by himself at night, and does his own secret thing which no one’ll know about, just like me! There’s no difference—he’s just the same as me—just the same—

All right! I’ll take it away! He’ll be delivered from madness. What then? He’ll feel himself acceptable! What then? Do you think feelings like his can be simply re-attached, like plasters? Stuck on to other objects we select? Look at him! …My desire might be to make this boy an ardent husband—a caring citizen—a worshipper of abstract and unifying God. My achievement, however, is more likely to make a ghost!

And now for me it never stops: that voice of Equus out of the cave—‘Why me? …Why me? …Account for me!’ …All right—I surrender! I say it! …In an ultimate sense I cannot know what I do in this place—yet I do ultimate things. Essentially I cannot know what I do—yet I do essential things. Irreversible, terminal things. I stand in the dark with a pick in my hand, striking at heads!
…
I need—more desperately than my children need me—a way of seeing in the dark. What way is this? …What dark is this? …I cannot call it ordained of God: I can’t get that far. I will however pay it so much homage. There is now, in my mouth, this sharp chain. And it never comes out.