Реферат: Master Builder Freudian Symbols Essay Research Paper

If the castle represents the id, then the churches logically symbolizes the

superego. The superego is defined as ?the past of the personality that represents good

and conscience , that distinguishes right from wrong in moralistic terms? (Berger, 39).

However, the death of Solness? children gives him the strength to repress his superego

and, as a result, he ceased creating churches. He tells Hilda, ?from the day I lost them, I

never wanted to build another church? (Ibsen 1410). Interestingly, while Solness did

build churches, they all had terribly elongated towers. As the tower undoubtedly stood

for a phallic symbol, its presence essentially decreased the strength of the superego

image. Where the church failed, the tower was able to defy gravity and led him closer to

redemption – or so he thought.

The third component of the personality is the ego. The ego is the part that

regulates between the demands of the id and the limits of the superego (Berger 39). The

play uses books to represent the ego. Because books contain both morality and sexuality,

they allow a reader to live vicariously without dealing with the repercussions of either.

While the ego might have redeemed Solness and Hilda, both refused to read the books.

Hilda says, ?I can?t connect with them anymore.? And Solness agrees and states, ?it?s

exactly the same for me? (Ibsen 1260). Indeed, the id has gained enough strength to

obliterate both the ego and the superego. The characters are quite doomed to accept the

consequences of their actions.

Notable the consequences which essentially characterize the play?s conclusion are

also very stereo-typical images of sex within Freudian philosophy. It is quite clear that a

number of objects are used to denote the genitals symbolically in the final act. The

climbing of steps is most commonly used to symbolize sexual intercourse. Thus,

Solness surmounts his deadly fear of climbing as he begins the ascent to the top of the

tower (another previously discussed phallic symbol). While Mrs. Solness is afraid for

her husband and wishes he would turn around and descend, Hilda emphatically

encourages him to continue upward saying, ?He?s climbing and climbing. Always

higher. Always higher? (Ibsen 2650)!

And yet, the symbolism does not end there; Solness? death is a portrayal of his