Abstract The anonymously authored Mucedorus was the most popular printed play-text in Renaissance England. A critical consensus has condemned the play as a vulgar romance with conservative overtones. Through a close reading of the banished shepherd-prince and the cannibalistic outlaw-king, Bremo, I argue that the play instead stages a disturbing encounter between two figures of sovereign exclusion, whose differences collapse into imitation. This mirroring conflict participates within the play’s provocative depiction of other dissolving antitheses: between order and chaos, civilisation and animality, reason and violence.

中文翻译：

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Mucedorus 中的“排除数字”（约 1591 年）

摘要 匿名创作的 Mucedorus 是英国文艺复兴时期最流行的印刷剧本。一个批判性的共识谴责该剧是带有保守色彩的粗俗浪漫。通过对被放逐的牧羊人王子和食人族的亡命之徒布雷莫的仔细阅读，我认为该剧反而上演了两个主权排斥人物之间令人不安的相遇，他们的差异化为模仿。这种镜像冲突参与了该剧对其他相互溶解的对立的挑衅性描述：秩序与混乱、文明与兽性、理性与暴力之间。