This article aims to demonstrate the inherent nature of translating theatrical texts, not only through the very nature of such texts, but also through their verbal and non-verbal constituents. It also posits that a theatrical text is not an ordinary text, such as descriptive, expository, scientific etcetera, but an amalgam of what is called linguistic and paralinguistic elements, considered to be the fundamental components of these texts. The examples used for analysis are drawn from two Shakespearean plays, viz. Macbeth and Hamlet, with reference to Milton’s Paradise Lost.