Other editions of book The Master Builder

The Master Builder is a play by Norwegian playwright Henrik Ibsen. It was first published in December 1892 and is regarded as one of Ibsen's most significant and revealing works. The setting and plot of The Master Builder can be taken as one of unrelenting, "frock-coated realism": the destructive outcome of a middle-aged, professional man's infatuation with a younger, teasing woman or, as critic Desmond MacCarthy prosaically describes this concept of the work: the tragedy of an "elderly architect who falls off his scaffold while trying to show off before a young lady". If, however, we take Solness's belief in his powers at their face value, the play can also be a lyrical and poetic fairytale, in the manner of Peer Gynt travelling the Earth in his magical adventures while the faithful Solveig waits for his return. On stage both interpretations are possible, although it is difficult to give equal weight to both meanings in the same production.

A plainly-furnished work-room in the house of HALVARD SOLNESS. Folding doors on the left lead out to the hall. On the right is the door leading to the inner rooms of the house. At the back is an open door into the draughtsmen's office. In front, on the left, a desk with books, papers and writing materials. Further back than the folding door, a stove. In the right- hand corner, a sofa, a table, and one or two chairs. On the table a water-bottle and glass. A smaller table, with a rocking-chair and arm-chair, in front on the right. Lighted lamps, with shades, on the table in the draughtmen's office, on the table in the corner, and on the desk. In the draughtsmen's office sit KNUT BROVIK and his son RAGNAR, occupied with plans and calculations. At the desk in the outer office stands KAIA FOSLI, writing in the ledger. KNUT BROVICK is a spare old man with white hair and beard. He wears a rather threadbare but well-brushed black coat, with spectacles, and a somewhat discoloured white neckcloth. RAGNAR BROVIK is a well-dressed, light-haired man in his thirties, with a slight stoop. KAIA FOSLI is a slightly built girl, a little over twenty, carefully dressed, and delicate-looking. She has a green shade over her eyes.—All three go on working for some time in silence.

A plainly-furnished work-room in the house of HALVARD SOLNESS. Folding doors on the left lead out to the hall. On the right is the door leading to the inner rooms of the house. At the back is an open door into the draughtsmen's office. In front, on the left, a desk with books, papers and writing materials. Further back than the folding door, a stove. In the right- hand corner, a sofa, a table, and one or two chairs. On the table a water-bottle and glass. A smaller table, with a rocking-chair and arm-chair, in front on the right. Lighted lamps, with shades, on the table in the draughtmen's office, on the table in the corner, and on the desk. In the draughtsmen's office sit KNUT BROVIK and his son RAGNAR, occupied with plans and calculations. At the desk in the outer office stands KAIA FOSLI, writing in the ledger. KNUT BROVICK is a spare old man with white hair and beard. He wears a rather threadbare but well-brushed black coat, with spectacles, and a somewhat discoloured white neckcloth. RAGNAR BROVIK is a well-dressed, light-haired man in his thirties, with a slight stoop. KAIA FOSLI is a slightly built girl, a little over twenty, carefully dressed, and delicate-looking. She has a green shade over her eyes.—All three go on working for some time in silence.

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First performed in 1892, this psychological drama is one of the great Norwegian playwright's most symbolic and lyrical works. The drama explores the insecurities of an aging architect, Solness, Halvard who suspects that his creative powers have diminished with age. Solness finds strength of purpose in his involvement with Hilda — his muse, inspiration, and ardent believer in his greatness — but their association leads to a conflict between heroic myth and complicated reality.

With The Master Builder—or Master Builder Solness, as the title runs in the original—we enter upon the final stage in Ibsen's career. "You are essentially right," the poet wrote to Count Prozor in March 1900, "when you say that the series which closes with the Epilogue (When We Dead Awaken) began with Master Builder Solness." "Ibsen," says Dr. Brahm, "wrote in Christiania all the four works which he thus seems to bracket together—Solness, Eyolf, Borkman, and When We Dead Awaken. He returned to Norway in July 1891, for a stay of indefinite length; but the restless wanderer over Europe was destined to leave his home no more.... He had not returned, however, to throw himself, as of old, into the battle of the passing day. Polemics are entirely absent from the poetry of his old age. He leaves the State and Society at peace. He who had departed as the creator of Falk [in Love's Comedy] now, on his return, gazes into the secret places of human nature and the wonder of his own soul."

Halvard Solness is a middle-aged master builder of a small town in Norway who has become a successful architect of some distinction and local reputation. One day while having a visit from his friend Doctor Herdal, Solness is visited by Hilda Wangel, a young woman of 23, whom Doctor Herdal recognizes from a recent trip that he had taken. The doctor leaves, Solness is alone with Hilda, and she reminds him that they are not strangers – they have previously met in her home town 10 years ago when she was 13 years old. When Solness does not respond immmediately, she reminds him that at one point during their encounter he had made advances to her, had offered her a romantic interlude, and promised her "a kingdom", all of which she believed. He denies this. She gradually convinces him, however, that she can assist him with his household duties, and so he takes her into his home.

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The Master Builder depicts a powerful man whose illusions collapse in the face of a young woman's courageous common sense. In Rosmersholm; an idealist is forced to question his beliefs and confront terrible truths about the past; while Little Eyolf portrays a man's self-deception; which brings both tragic repercussions for his family and new hope for their future. and in John Gabriel Borkman; a dying woman returns to reclaim the affections and loyalty of her nephew; resulting in a bitter struggle with her sister.

The Master Builder is a play by Norwegian playwright Henrik Ibsen. It was first published in December 1892 and is regarded as one of Ibsen's most significant and revealing works. Helene Alving is about to dedicate an orphanage she has built in the memory of her dead husband, Captain Alving. She reveals to Pastor Manders that she has kept hidden the negative aspects of her marriage, primarily due to the immoral and unfaithful behavior of her late husband. She has built the orphanage to deplete her husband's wealth so that their son, Oswald, might not inherit anything from him. Pastor Manders had previously advised her to return to her husband despite his philandering, and she followed his advice in the belief that her love for her husband would eventually reform him. But, her husband continued his affairs until his death, and Mrs. Alving did not leave him to protect her son from the taint of scandal, and for fear of being shunned by the community. During the action of the play, she discovers that her son Oswald (whom she had sent away to avoid his being corrupted by his father) is suffering from syphilis that he inherited from his father. She also discovers that Oswald has fallen in love with Regina Engstrand, Mrs. Alving's maid, which is a serious problem because Regina is revealed to be an illegitimate daughter of Captain Alving, and therefore Oswald is falling in love with his half-sister. When the sibling relationship is exposed, Regina leaves, and Oswald is in a state of despair and anguish. He asks his mother to help him die by an overdose of morphine in order to end his suffering from his disease, which could put him into a helpless vegetative state. She agrees, but only if it becomes necessary. The play concludes with Mrs. Alving having to confront this decision: whether or not to euthanize her son in accordance with his wishes.