© Ciaran O’Driscoll, 2014, 2021.
Tuesday, 12 October 2021
THE ANTHROPOLOGY OF THE RUBBER BANDITS (2) MORE ABOUT THE HORSE OUTSIDE
The 'Horse Outside' presents a traditional, animal mode of transport in the midst of flashy mechanical modes of transport which have become status symbols in a pathologically status-conscious society. When the sexy young woman mentions the alternative modes of transport available to her from rival suitors, the Spar-bag-masked yokel dismisses them all in favour of his equine means of conveyance: 'F**k your Mitsubishi, I've a horse outside...' This admirer of female allure comes into a highly artificial and class-conscious society like a blast from the past, like a healthy force of nature, full of primordial, unselfconscious confidence. He doesn't give a damn about the claims to a woman's heart represented by ownership of flashy cars; he believes (as I think we all do deep down) that a horse is a far superior being to a mechanically propelled vehicle. This cocky wooer is making a claim for a true gradation of status: the superiority of a living being over a piece of metal. Not only that, but the image of a horse 'outside' is a powerful one. The horse which is outside the door of the church is also outside our society, outside the wedding feast, outside the pale. It conjures up in my mind the Ancient Mariner, the Knocking at the Gate in Macbeth, An Inspector Calls, The Green Knight, Death the Leveller, the Eumenides, the Reckoning. I don't think it is too over the top to say that the Rubberbandits' horse outside also conjures up death and judgement. In one of their sketches, a claim is made that the only things that ghosts are frightened of are horses. There is also the echo between 'horse' and 'hearse': 'I have a hearse outside'. The church is a scene of funerals as well as of weddings. First Love, Last Rites is the title of a book by Ian McEwan. Not only does our society shut out the horse, it also blanks out on death. In the old days, it was a horse that drew the hearse to the final resting place. This is still so in the case of travellers, who are like the horse in that they are also 'outside'. Class distinction, sex, death and disparity are, of course, the life-blood of comedy.