The specific Idols of the theater are used for understanding, and within the context of Double Bind, understanding of the opposite sex, however they actually impede understanding as they are unreal, dramatic, generalized, and made up or false. Bacon states that these “idols… have immigrated into men’s minds” and “[represent] worlds of their own creation after an unreal and scenic fashion” (#44, 96-97). He considers these Idols as “unreal” because “many plays… [are] composed … in [an] artificial manner” (#44, 97). Bacon’s Idols of the theater and their stereotypes and generalizations are depicted through the interactions that Clueless One, Clueless Two, Antiquides, Smug, and Diddley have with the female characters, Dovey and Loveykins, in Double
The specific Idols of the theater are used for understanding, and within the context of Double Bind, understanding of the opposite sex, however they actually impede understanding as they are unreal, dramatic, generalized, and made up or false. Bacon states that these “idols… have immigrated into men’s minds” and “[represent] worlds of their own creation after an unreal and scenic fashion” (#44, 96-97). He considers these Idols as “unreal” because “many plays… [are] composed … in [an] artificial manner” (#44, 97). Bacon’s Idols of the theater and their stereotypes and generalizations are depicted through the interactions that Clueless One, Clueless Two, Antiquides, Smug, and Diddley have with the female characters, Dovey and Loveykins, in Double