But, on the whole, he wasn’t a nice chap. Especially so far as bible translator William Tyndale was concerned.
This piece by atheist polemicist Christopher Hitchens on the literary merit of the King James Version is fascinating (on a number of levels). Here’s a snippet:
“Until the early middle years of the 16th century, when King Henry VIII began to quarrel with Rome about the dialectics of divorce and decapitation, a short and swift route to torture and death was the attempt to print the Bible in English. It’s a long and stirring story, and its crux is the head-to-head battle between Sir Thomas More and William Tyndale (whose name in early life, I am proud to say, was William Hychyns).
Their combat fully merits the term “fundamental.” Infuriating More, Tyndale whenever possible was loyal to the Protestant spirit by correctly translating the word ecclesia to mean “the congregation” as an autonomous body, rather than “the church” as a sacrosanct institution above human law. In English churches, state-selected priests would merely incant the liturgy. Upon hearing the words “Hoc” and “corpus” (in the “For this is my body” passage), newly literate and impatient artisans in the pews would mockingly whisper, “Hocus-pocus,” finding a tough slang term for the religious obfuscation at which they were beginning to chafe.
The cold and righteous More, backed by his “Big Brother” the Pope and leading an inner party of spies and inquisitors, watched the Channel ports for smugglers risking everything to import sheets produced by Tyndale, who was forced to do his translating and printing from exile. The rack and the rope were not stinted with dissenters, and eventually Tyndale himself was tracked down, strangled, and publicly burned.”
Tyndale’s work was a precursor to the KJV. Hitchens waxes lyrical about the literary benefits of the KJV in this article, which you should read, and be ready to quote, the next time somebody tells you that religion poisons everything.
“Though I am sometimes reluctant to admit it, there really is something “timeless” in the Tyndale/King James synthesis. For generations, it provided a common stock of references and allusions, rivaled only by Shakespeare in this respect. It resounded in the minds and memories of literate people, as well as of those who acquired it only by listening. From the stricken beach of Dunkirk in 1940, faced with a devil’s choice between annihilation and surrender, a British officer sent a cable back home. It contained the three words “but if not … ” All of those who received it were at once aware of what it signified. In the Book of Daniel, the Babylonian tyrant Nebuchadnezzar tells the three Jewish heretics Shadrach, Meshach, and Abednego that if they refuse to bow to his sacred idol they will be flung into a “burning fiery furnace.” They made him an answer: “If it be so, our god whom we serve is able to deliver us from the burning fiery furnace, and he will deliver us out of thy hand, o King. / But if not, be it known unto thee, o king, that we will not serve thy gods, nor worship the golden image which thou hast set up.”
A culture that does not possess this common store of image and allegory will be a perilously thin one. To seek restlessly to update it or make it “relevant” is to miss the point, like yearning for a hip-hop Shakespeare. “Man is born unto trouble as the sparks fly upward,” says the Book of Job. Want to try to improve that for Twitter? And so bleak and spare and fatalistic—almost non-religious—are the closing verses of Ecclesiastes that they were read at the Church of England funeral service the unbeliever George Orwell had requested in his will: “Also when they shall be afraid of that which is high, and fears shall be in the way, and the almond tree shall flourish, and the grasshopper shall be a burden, and desire shall fail: because man goeth to his long home. … Or ever the silver cord be loosed, or the golden bowl be broken, or the pitcher be broken at the fountain, or the wheel broken at the cistern. / Then shall the dust return to the earth as it was.”