A Comparison Peter Shaffer’s Equus and Albert Camus’s The Stranger

The ways in which truths are presented to external audiences concerning outside characters display not only a good judgment of character on the presenter, but furthermore, the often insignificant nature of whom the presenter is talking about, even if the insignificance presented is accidental. Both Peter Shaffer’s Equus and Albert Camus’ The Stranger approach different ways in presenting the truths of Alan Strang and Meursault to the audience/jury, but one thing remains clear; intentional or unintentional manipulation of these characters leads to the eternal distrust of the reliability of their presenters, Martin Dysart and the members of the law.

Through Dysart’s self-diagnosis given throughout Equus, Shaffer directly conflicts with where focus of the story should be thrown, and an unintentional glorification of Dysart is displayed in result. The focus of the story strays, and although Dysart remains fascinated with Alan throughout the duration of the play, his fascination turns selfish, and he reflects more upon his own life than he does Alan’s. Dysart’s name is the first on the list of characters, and he opens the play as well, therefore, the focus of the reader/audience is automatically thrown towards Dysart, and he is expected to be the main focus of the play. Similar to Equus, through Camus’ presentation of Meursault to the jury in The Stranger, he suggests the selfish and corrupt nature of the self-serving institution of the law. Meursault is the sole reason for the trial that takes place, but his story starts to matter less and less throughout the duration of the trial. The members of the law become more concerned with glorifying their side of the story, and in result, winning the case.

Dysart’s characterization, in ...

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...ault describes the courtroom as a “dizzy . . . stuffy room” (Camus 83). Meursault later blames his killing of the Arab on the heat, therefore the reader can assume that the way the courtroom makes him feel denotes an extremely uncomfortable nature.

Though both Alan and Meursault are deemed as “appalling” members of society, their stories become lost and unimportant when Dysart and the members of the law seek representation of their lives. Both characters arrive in the story at the convenience of Dysart and the members of the law, and because of this convenience, Shaffer and Camus glorify Dysart and the members of the law, rather than solve the problems in Alan or Meursault’s lives. What one finds truthful in the world or their lives becomes unreliable in its presentation to the reader, as displayed in both Equus and The Stranger.

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