The removal of the ban on William Shakespeare’s works by the Chinese government in 1977 marked a pivotal moment in the cultural landscape of China. For a decade, during the Cultural Revolution initiated in 1966 under the leadership of Mao Zedong, Western literature and cultural imports faced harsh scrutiny and censorship. The ban on Shakespeare, along with other Western authors, was indicative of the broader ideological campaigns that sought to eliminate 'bourgeois' influences from Chinese society. Literature that did not align with Communist Party ideals was relegated or destroyed, leading to a homogenized cultural narrative that heavily favored Marxist literature and revolutionary themes.

However, by the mid-1970s, the political environment began to shift. Mao’s death was on the horizon, and there was a growing recognition among leadership that a more open cultural policy could facilitate national healing and progress. The decision to permit Shakespeare’s works was not merely about allowing a long-restricted author but symbolized a broader acceptance of diverse ideas and influences that could enrich Chinese culture. This change opened the door for students, scholars, and the general populace to engage with Shakespeare's explorations of human emotion and complex relations, fostering a richer literary dialogue.

As Shakespeare’s writings re-entered the cultural discourse, theatrical productions and literary studies began to flourish, revitalizing educational curricula in Chinese universities. This reintroduction catalyzed a broader liberalization in Chinese arts and culture, setting the stage for future exchanges and collaborations with Western literatures and philosophies. Writers and intellectuals who had been stifled now had the opportunity to draw from a wider array of influences, nurturing a literary environment that laid foundations for contemporary Chinese literature.