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The four hundredth anniversary of the publication of the King James Bible (2011) has now passed, and the four hundredth anniversary of the death of William Shakespeare (2016) is on the horizon. The Victorians would have celebrated both events similarly, trumpeting the eternal glories and universal benefits of British civilization. But the King James Bible is now one translation among a multitude, churchgoing in Britain is on the wane, and the sun set on the Empire long ago. Shakespeare, however, remains vital. The celebration of the 2012 Olympics in London included Globe to Globe, featuring thirty-seven productions of Shakespeare plays in as many languages, including Swahili and sign language. As the BBC reported, among the productions were a “King Lear performed in Belarusian, Hamlet in Lithuanian and Othello re-interpreted through hip-hop.”1 Shakespeare is performed around the world, but especially in English-speaking countries. Centers of performance include Stratford and London, Washington, New York, and Chicago, Stratford (Canada), and Malkgulumbu, Australia. Film and television versions of the plays continue to be regularly produced, including most recently Julie Taymore's The Tempest (2010) and the BBC's The Hollow Crown (2012), the English history plays from Richard II through Henry V. The National Theatre production of Timon of Athens was broadcast in movie theaters across Britain and the United States in November 2012. Small company and amateur productions of Shakespeare must run into the hundreds if not thousands annually. In the United States, Shakespeare remains the one pre-twentieth-century author one can count on virtually all high-school students having read. In a weird way, Shakespeare has become something like the Bible of contemporary culture; everyone in Shakespeare's day knew the story of Adam and Eve and the serpent, while everyone today knows Romeo and Juliet. Yet how many of Shakespeare's millions of readers and viewers realize the extent to which he was a biblical writer?
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