对待莎剧原文的语序,译者存在两种对立的做法。朱生豪说他会不惜全部改变原文的结构,以使译文清晰流畅;卞之琳则主张对原文亦步亦趋,尽可能行对行翻译。关于莎剧中语序变异及其汉译的研究尚不多见。本文从语言学视角研究莎剧中句元的三种非常规顺序及其汉译,发现在莎剧译者中,朱生豪确实践行了其翻译原则,卞之琳对莎剧原文实际上并没有亦步亦趋,严格遵循这一原则的只有彭镜禧。本文提出,在原文和译文语言里句元的常规和非常规顺序两可的情况下,剧作家如果为了取得某种修辞或戏剧效果采用了非常规顺序,译者应该尽量亦步亦趋,才能在译文中取得近似的效果。 There are two opposite approaches to translating the original Shakespearean sequence. Zhu Shenghao said he would not hesitate to completely change the structure of the original text in order to make the translation clear and smooth; Bian Zhilin advocated that the original text should be taken to the utmost extent and to be translated as far as possible. Research on the variations of Chinese word order and their translation into Chinese by Shakespeare is rare. This paper studies three unconventional sequences of sentence elements in Shakespearean plays and their Chinese translation from the perspective of linguistics. It is found that Zhu Shao-hao did practice translation principles in Shakespearean translators. Bian Zhilin did not actually follow the original version of Shakespearean plays, Strictly follow this principle, only Peng Jingxi. This paper proposes that if the dramatist adopts unconventional order in order to obtain a rhetorical or dramatic effect in the original and target languages, the translator should try his best to move forward in the translation To obtain the approximate effect.