《楚昭王疎者下船》的版本差異之大，在現存元雜劇劇本中，可謂十分突出。在其目前被保存堪稱完整的三個文本中，不論是從元刊本到脈望館鈔校內府本，或是從脈望館鈔校內府本到《元曲選》，其間差異皆揭示了編者不同的改編考量。而這些差異普遍的出現在情節、人物、腳色、排場、曲文，或賓白語言的使用上，或顯或隱的透露了版本與作者、時代及觀眾的關係，各自在不同的時代背景及觀賞條件下，表現了作者獨特的劇作觀，可為觀察元雜劇版本不同階段改編之最佳範例。整體而言，除了元刊本是接近原著，大致可顯示原作者的劇作觀之外，脈望館鈔校內府本之改編，多半趨向於通俗、熱鬧、追求圓滿的表現方式，推想是為了適合宮廷的演出環境，及貴族的觀賞心態所作的調整；而《元曲選》的改編，則使內容兼顧了合理性、完整性及文學性，故大致能呈現一個適合案頭觀賞的文本。

The differences among editions of 〞The Most Estranged People of King Shu-Chu Must Be Disembarked〞 are great. The texts in three versions that were saved integrally, whether between the librettos that published in Yuan Dynasty with the librettos that played in the palace during the Ming Dynasty, or between the librettos that played in the palace during the Ming Dynasty with The Anthology of Yuan Zaju, revealed the editors' different considerations of adaptations. These differences generally appear in the plot, characters, roles, pomps, texts of song, or the use of languages when spoken, that revealed explicitly or implicitly the relationship between the version with the author, the version with time, and the version with the audience, showing the author's unique concepts about plays. These three versions are the best examples of adaptation to observe the different stages of Yuan Zaju. Overall, in addition to the librettos that were published in Yuan Dynasty, and close to the original, it displays the personal concepts of drama. The adaptations of the librettos that played in the palace during the Ming Dynasty, tended to express popular, lively, and successful, supposed to be performed to fit the court, and the ornamental attitude of nobility. Those adaptations of the anthology of Yuan Zaju, were supposed to make a libretto that is much more reasonable completed and literarier, that would be suitable for reading.