·  Identify the different places the Chorus comes in. Who constitutes the chorus? How does it function in this play? Does it look anything like the ancient Greek Chorus?

·  Horse as vehicle for sexual feelings. The link between sex and a horse? Alan’s “first experience” on a horse. How is this like his first experience with sex? How does the homo-eroticism of the situation affect the way Alan perceives himself? How does this relate to Freud’s notion of the Id, Ego and, particularly, super-ego. Pp 43-44

·  Since we are talking sex, what is the significance (in a Freudian way) of Alan seeing his father at the pornographic movie? What does his father represent? Why is Alan’s seeing his father here liberating to a certain extent? Between Dora’s teachings about sex (preparing one for something greater—overly important, perhaps) and Frank’s embarrassment (suggestion that sex is dirty), what has Alan learned about sex? Consider the idea of repression? How would his parents respond to the homo-eroticism of Alan’s first horse ride?

·  Horse as vehicle for religious feelings. Book of Job. Inculcation of intense religious imagery, liturgy, morality, mythology at a very young age. Dora should beware of what she wishes for because it seems she gets it. The horse becomes God. Why? Is it a New Testament or an Old Testament God? Look of Job and suffering. God is always watching.

·  Confidant. Mrs. Linde. Charlie (Almost). Hester.

·  What does it mean to “cure” Alan of his insanity? And, if this is what “curing” is, what does it say about the “disease”? Consider The Stranger when thinking about this.

·  Act One ends with Alan’s ritual, the liturgy to his religion? Why end this way? What does the complex liturgy tell us about Alan? How does it affect Dysart?

·  What can be said about the connection between passion (pain, by one definition) and religion? Is passion necessary? In what ways are the formal, measured, structured ways that many religious ceremonies are done antithetical to the real religious experience? Consider who creates these motions (people). Consider who is, by definition, the furthest from God. So, why would we remain within the boundaries of traditional human behavior to find that which is outside of it. How is passion linked to sex?

·  Based on the last point, are Martin’s Greek gods dead? Do they evoke passion? Have they simply become intellectualism without passion/emotion? If so, what good are they? IS the religious experience dependent upon education/ intellectualism, or could these things actually get in the way? Think ToK and ways of knowing.

·  Martin’s monologues:

-page 9-10. Dysart’s opening monologue. How will it loop around to the closing dramatic monologue? What mood does it give to the beginning of the play? (Soliloquy).

-page16-18. Dysart’s dream (Soliloquy).

-page 57-59. The passionless life of Dysart and his wife (Part of a Dialogue with Hester)

-page 73-74. “I am left alone with Equus. Moments for children snap together to form a reality…Why those moments?” (Soliloquy)

-page 80. Jealous of Alan. He becomes a centaur in a Hampshire field and I treat him for insanity. (Part of a Dialogue with Hester)

-page107-110. Dysart’s closing lines after “curing” Alan.