Pillars of Society onward; but it was applied to a subject of a nature not only new to him, but new to literature.
That the play is full of symbolism it would be futile to deny; and the symbolism is mainly autobiographic. The churches which Solness sets out by building doubtless represent Ibsen's early romantic plays, the "homes for human beings," his social dramas; while the houses with high towers, merging into "castles in the air," stand for those spiritual dramas, with a wide outlook over the metaphysical environment of humanity, on which he was henceforth to be engaged. Perhaps it is not altogether fanciful to read a personal reference into Solness's refusal to call himself an architect, on the ground that his training has not been systematic—that he is a self-taught man. Ibsen too was in all essentials self-taught; his philosophy was entirely unsystematic; and, like Solness, he was no student of books. There may be an introspective note also in that dread of the younger generation to which Solness confesses. It is certain that the old Master Builder was not lavish of his certificates of competence to young aspirants, though there is nothing to show that his reticence ever depressed or quenched any rising genius.
On the whole, then, it cannot be doubted that several symbolic motives are inwoven into the iridescent fabric of the play. But it is a great mistake to regard it as essentially and inseparably a piece of symbolism. Essentially it is the history of a sickly conscience, worked out in terms of pure psychology. Or rather, it is a study of a sickly and a robust conscience side by side. "The conscience is very conservative," Ibsen has somewhere said; and here Solness's conservatism is contrasted with Hilda's radicalism—or rather would-
