劇院的建造提供前現代倫敦人一種新的日常娛樂空間。十七世紀初，城市喜劇以尖刻描繪當代社會之姿崛起。劇作家中，湯瑪士‧彌德頓的作品，不僅僅反映出社會現實，亦呈現對於該城市的願景。 本論文檢視前現代的倫敦在彌德頓城市喜劇中的再現。當中城市可分為現實與隱喻的樣貌。在舞台上，商業交易的戲碼呈現出以文化及地誌市景為主的現實。藉由設計、佈局交易中的詭計，城市景觀成為商業世界的縮影。彌德頓如製圖般的全景標記出當地受到商業活動染指的空間。甚者，世界在對白中被置換為一種隱喻。筆者認為此一時空置換，實為彌德頓創造城市願景的意圖。而當此願景與現實相遇，舞台空間轉換為傅柯所指的「異質空間」。 第一章闡明詭計中騙子與憨人(受騙者)角色差異。兩者之間的角色互換意指市民之間的權力糾葛。第二章辨明佈景中的公共空間與私密空間，及其所影射之所在地方。充滿文化意涵的市景藉由不同空間之間的連續性而展現。第三章道出劇作家如何運用對白中的隱喻來創造城市願景。最後，筆者以潛在市景一詞來總結。 The building of theaters provided a new space of daily entertainment for early modern Londoners. City comedy was emergent in early seventeenth century, which depicted the contemporary society satirically. Thomas Middleton was one of the playwrights whose plays represent not only the social reality, but also a vision of the city. This thesis examines the representation of early modern London in Middleton’s city comedies. Such representation includes two parts: reality and metaphor of the city. On stage, reality is portrayed as the cultural and topographical cityscape dominated by issues of commercial transaction. By plotting and setting the trickery in any forms of transaction, the cityscape becomes a microcosm of commercial world. Middleton offers a panoramic view of his contemporary society by mapping the places with the connotations of commercial spaces in his plays. Further, the world is displaced by the device of metaphor in dialogues. I argue that the displacement of time and space implies Middleton’s attempt to create a vision of the city. When the vision encounters with reality, the theatrical spaces are turned to be what Michel Foucault called “heterotopias.” Chapter One clarifies the roles in trickery which are mainly divided into tricksters and gulls, the victims of tricks. The change of roles between tricksters and gulls refer to the power struggle among citizens. Chapter Two distinguishes the settings from the public to the private spaces and their corresponding places. By showing the continuum among different spaces, the cityscape filled with cultural meanings is displayed on stage. Chapter Three points out how metaphors in dialogues serve to the playwright’s intention to create a vision of the city. Finally, I conclude this vision with the latent cityscape.