This study explores and examines the historical, literary and translation theories that may help the translator reach the best solutions as far as rendering clown discourse in Shakespeare's plays into Arabic is concerned. It attempts to explore the net of relations between various disciplines that might form a stable basis of interrelated theories. Positivist historiography versus subjectivism and New Historicism are discussed as tools that lead to different understandings of the clown discourse. Bourdieusian social approaches to translation are also applied to eventually prove that translation depends on a theory of relations; if fully understood, the theory and practice of the translation career will foster, acquire more lands and build clearer borderlines. Analyses of different translations of clown discourse in Shakespeare prove that rendering clown discourse in Shakespeare needs revision from time to time to be reproduced in a new way agreeing with the clownish terminology of every age. Collecting the corpus of clowns in Shakespeare's dramas, tracing their characteristic and linguistic traits and how these traits must be reflected in translation is not only beneficial to the translation studies, but also to the historical and social research endeavors of England and the West at that time.