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BASIC09

BASIC09 is a structured BASIC programming language dialect developed by Microware on behalf of Motorola for the then-new Motorola 6809 CPU and released in February 1980. It is primarily used with the OS-9 operating system, released in 1979. Microware also released a version for OS-9/68k on the 68000 as Microware BASIC.

In contrast to typical BASICs of the era, BASIC09 includes a multi-pass compiler that produces compact bytecode known as I-code. I-code replaces a number of data structures found in other BASICs with direct pointers to code and values, speeding performance. Users can further compile code using the  command, at which point it can be called directly by OS-9 and operated as native code. In the case of PACKed code, a cut-down version of the BASIC09 runtime system is used, Runb, further improving memory footprint and load time.

The language includes a number of structured programming additions, including local variables, the ability to ignore line numbers in favor of named routines, user-defined structures, and several distinct base data types including 16-bit and 8-bit (byte) integers, in addition to floating point and strings.

Program organization
A key difference between BASIC09 and conventional BASICs of the era, like the canonical Microsoft BASIC, is the addition of the  structure which created separately executable blocks of code. Code in a  had more in common with complete programs in other BASICs, including the variables being local to the code, and their ability to be executed in a stand-alone fashion. s were called by name using the  command, and could include variables for function-call semantics; for instance,   calls a procedure named   that takes two parameters. Parameters were imported into the procedure using the  keyword, in this example  :

PROCEDURE add PARAM a,b PRINT a+b

A side-effect of the use of named procedures is that the resulting memory workspace is, in effect, its own namespace. In this respect, the BASIC09 system appears to the user to be a directory of callable programs. This contrasts with typical BASICs, where only one program is available at a given time and the construction of larger programs calling library-like code generally requires the source code to be copied and pasted between separate programs. In BASIC09, the user can  procedures by name into the workspace and then call them from their own code to construct larger programs from the separately stored procedures.

In addition to code in the workspace, if the program invokes  with a procedure name that could not be found, it would then look for a disk file with the same name and load and run that file. This worked not only with BASIC09 code, but also any other executable program, including machine language files. This meant that BASIC09 could easily call system routines.

In addition to, other common BASIC commands likewise used names. For instance,  would print out the source code ("list") the procedure named "bob", while   prints out all of the procedures currently in memory. The prettyprinted output from  could be redirected to a file or a printer with a shell-like notation, e.g.  . One could also   and   procedures from storage.

Structured programming
In addition to the organizational properties of the, BASIC09 also included a number of extensions to the  flow control statements found in BASIC to provide more structure. For instance, the  statement could be used in the traditional  ... format on a single line, or it could be used in a structured multi-line format:

IF x>10 THEN PRINT "x is larger than 10" ELSE PRINT "x is smaller than 10" ENDIF

loops naturally have a structured format as the  can be placed on any line, but BASIC09 also added   and   for additional clarity when working with non-indexed loops. It also included the center-exit  which used the   statement for testing anywhere in the loop's body.

Data types
BASIC09 included several built-in data types. In addition to the traditional string (STRING) and 40-bit floating point (REAL) types found in most BASICs of the era, it also included the 16-bit signed INTEGER, the 8-bit unsigned BYTE, and the logical BOOLEAN type. The BOOLEAN types were not packed into bytes, a single BOOLEAN used an entire 8-bit byte to store a single value. The language provided separate bytewise boolean operators for bitwise operations on BYTEs and INTEGERs. In contrast to other BASICs that also operated different base types, BASIC09 did not "decorate" the variable name to indicate the type, and instead used the  for definitions; for instance,   to declare two BOOLEAN variables, or   for an array of five INTEGERs.

Additionally, BASIC09 included the  keyword, which allowed compound types to be defined, with each "element" listed on a single line separated by semicolons. For instance:

TYPE employee_record=name:STRING;number(2):INTEGER;former:BOOLEAN

defines an employee record type named  with three elements, ,   and. The employee_record type can now be used in a definition like any other type, for instance,, which defines an array of 100 employee_record's. The elements are accessed in code using dot notation, for instance,.

Editing
Line numbers were used in most BASIC dialects primarily as a way to support the editor. Users would edit particular lines of code by typing a number, with the text following either adding to or replacing the lines already in memory. As every line of code had a number, this also made them suitable for indicating the target of a  or , compared to other languages like FORTRAN where a separate "line label" was used for this purpose.

BASIC09 did not normally use line numbers, so its editor had to be modified to allow the user to edit lines without referring to them by number. However, BASIC09 did not assume any sort of full-screen capability, so using cursor keys was not an option. Instead, the system had a separate editor prompt and allowed the user to move about using the and  keys, moving forward or backward one line at a time. To insert a new line of code without a line number, the user left a blank at the start of the statement.

Note that the language is case sensitive for user-provided values like procedure and variable names, but not for keywords. Keywords typed into the editor in lower case will be shown in upper case when the program is ed. BASIC09 allowed multiple statements on a single line of code, but used the as a separator instead of the  used in most dialects. This is because it used the colon in the  assignment operator, which was in addition to the normal. was identical in effect to, but made the difference between assignments and comparisons more obvious.

Compiler
The internal multipass compiler converts BASIC09 source code into a tokenized, optimized, bytecode, called I-code. I-code differs from the more traditional tokenizing approach found in most BASICs in that a number of items were placed directly in memory instead of using references that then had to be looked up.

For instance, in MS-based interpreters, a variable reference in code is left in string format; the variable  would be represented in memory by the three ASCII characters "VAR". During execution, when this variable is encountered in the code the interpreter has to look up that string in a table of variables, find the associated storage address in memory, and then finally read the value stored in that location. The table is usually constructed so that the value follows the name, to save time during the final lookup.

In contrast, in I-code the address of the variable is determined in advance and the reference in code is replaced by that address. This avoids a runtime search through the variable table. Other optimizations include a separate  routine used when the index variable is an INTEGER, and separate INTEGER and REAL math libraries.

For added performance, BASIC09 also included the  command which took a procedure name and returned an optimized version. Some of these optimizations included removing non-coding instructions like code comments and the replacement of constant expressions to a single value. For instance,  would recognize that   contains only constants on the right, and replaces it with the code , which requires only a single operation at runtime, the addition, removing the division and square root. reduced the memory footprint of the procedure and improved performance by about 10 to 30%.

Lightweight runtime
Although it was common to run programs within the BASIC09 environment, as it was in other BASICs, BASIC09 also shipped with a separate run-only version of the code known as Runb. Runb removed the editing and debugging features of the system, and was about half the size of the full BASIC09 as a result.

The purpose of Runb was primarily to run PACKed modules when called from other programs. This meant that if the user typed in the name of a BASIC09 module in the OS/9 command line, and that module has been marked as PACKed, it is opened and run by Runb instead of the BASIC09. This reduces memory footprint and improves load time.

Significant features

 * reasonably structured control flow provisions (e.g., line numbers were mainly needed for computed, as BASIC09 did not have a switch/case statement, or computed  )
 * structure declaration (rare in any BASIC variant then; more common in later BASIC implementations)
 * intrinsic integer and Boolean data types
 * more than two significant characters in variable names (some BASICs of the time allowed only one, many Microsoft BASIC variants allowed only two)
 * procedures with local variables (indeed, all variables in BASIC09 are local to procedures) and parameter passing by reference
 * a reasonable debugger (its only significant drawback was that one could not examine the contents of fields in structures)
 * a way to interface to machine language code, which could be passed parameters using the BASIC09 calling sequence
 * automatic prettyprinting of source, which enforced a standard layout and avoided the ghastly mess that was the usual appearance of a program of any size in the interpreted BASICs of the time. Programmers normally would cram as many lines together as possible to avoid line number memory overhead—not a problem in BASIC09

title: BASIC09


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Noble savage

In Western anthropology, philosophy, and literature, the noble savage is a stock character who is uncorrupted by civilization. As such, the noble savage symbolizes the innate goodness and moral superiority of a primitive people living in harmony with Nature. In the heroic drama of the stageplay The Conquest of Granada by the Spaniards (1672), John Dryden represents the noble savage as an archetype of Man-as-Creature-of-Nature.

The intellectual politics of the Stuart Restoration (1660–1688) expanded Dryden's playwright usage of savage to denote a human wild beast and a wild man. Concerning civility and incivility, in the Inquiry Concerning Virtue, or Merit (1699), the philosopher Anthony Ashley-Cooper, 3rd Earl of Shaftesbury, said that men and women possess an innate morality, a sense of right and wrong conduct, which is based upon the intellect and the emotions, and not based upon religious doctrine.

In the philosophic debates of 17th-century Britain, the Inquiry Concerning Virtue, or Merit was the Earl of Shaftesbury's ethical response to the political philosophy of Leviathan (1651), in which Thomas Hobbes defended absolute monarchy and justified centralized government as necessary because the condition of Man in the apolitical state of nature is a "war of all against all", for which reason the lives of men and women are "solitary, poor, nasty, brutish, and short" without the political organization of people and resources. The European Hobbes gave, incorrectly, as example the American Indians as people living in the bellicose state of nature that precedes tribes and clans organizing into the societies that compose a civilization.

In 18th-century anthropology, the term noble savage then denoted nature's gentleman, an ideal man born from the sentimentalism of moral sense theory. In the 19th century, in the essay "The Noble Savage" (1853) Charles Dickens rendered the noble savage into a rhetorical oxymoron by satirizing the British romanticisation of Primitivism in philosophy and in the arts made possible by moral sentimentalism.

In many ways, the noble savage notion entails fantasies about the non-West that cut to the core of the conversation in the social sciences about Orientalism, colonialism and exoticism. The key question that emerges here is whether an admiration of "the Other" as noble undermines or reproduces the dominant hierarchy, whereby the Other is subjugated by Western powers.

Origins
The stock character of the noble savage originated from the essay "Of Cannibals" (1580), about the Tupinambá people of Brazil, wherein the philosopher Michel de Montaigne presents "Nature's Gentleman", the bon sauvage counterpart to civilized Europeans in the 16th century.
 * 16th century

The first usage of the term noble savage in English literature occurs in John Dryden's stageplay The Conquest of Granada by the Spaniards (1672), about the troubled love of the hero Almanzor and the Moorish beauty Almahide, in which the protagonist defends his life as a free man by denying a prince's right to put him to death, because he is not a subject of the prince:
 * 17th century

By the 18th century, Montaigne's predecessor to the noble savage, nature's gentleman was a stock character usual to the sentimental literature of the time, for which a type of non-European Other became a background character for European stories about adventurous Europeans in the strange lands beyond continental Europe. For the novels, the opera, and the stageplays, the stock of characters included the "Virtuous Milkmaid" and the "Servant-More-Clever-Than-the-Master" (e.g. Sancho Panza and Figaro), literary characters who personify the moral superiority of working-class people in the fictional world of the story.
 * 18th century

In English literature, British North America was the geographic locus classicus for adventure and exploration stories about European encounters with the noble savage natives, such as the historical novel The Last of the Mohicans: A Narrative of 1757 (1826), by James Fenimore Cooper, and the epic poem The Song of Hiawatha (1855), by Henry Wadsworth Longfellow, both literary works presented the primitivism (geographic, cultural, political) of North America as an ideal place for the European man to commune with Nature, far from the artifice of civilisation; yet in the poem “An Essay on Man” (1734), the Englishman Alexander Pope portrays the American Indian thus:

To the English intellectual Pope, the American Indian was an abstract being unlike his insular European self; thus, from the Western perspective of "An Essay on Man", Pope's metaphoric usage of poor means "uneducated and a heathen", but also denotes a savage who is happy with his rustic life in harmony with Nature, and who believes in deism, a form of natural religion — the idealization and devaluation of the non-European Other derived from the mirror logic of the Enlightenment belief that "men, everywhere and in all times, are the same".

Like Dryden's noble savage term, Pope's phrase "Lo, the Poor Indian!" was used to dehumanize the natives of North America for European purposes, and so justified white settlers' conflicts with the local Indians for possession of the land. In the mid-19th century, the journalist-editor Horace Greeley published the essay "Lo! The Poor Indian!" (1859), about the social condition of the American Indian in the modern United States:
 * 19th century

"I have learned to appreciate better than hitherto, and to make more allowance for the dislike, aversion, contempt wherewith Indians are usually regarded by their white neighbors, and have been since the days of the Puritans. It needs but little familiarity with the actual, palpable aborigines to convince anyone that the poetic Indian — the Indian of Cooper and Longfellow — is only visible to the poet's eye. To the prosaic observer, the average Indian of the woods and prairies is a being who does little credit to human nature — a slave of appetite and sloth, never emancipated from the tyranny of one animal passion, save by the more ravenous demands of another.

As I passed over those magnificent bottoms of the Kansas, which form the reservations of the Delawares, Potawatamies, etc., constituting the very best corn-lands on Earth, and saw their owners sitting around the doors of their lodges at the height of the planting season, and in as good, bright planting weather as sun and soil ever made, I could not help saying: 'These people must die out — there is no help for them. God has given this earth to those who will subdue and cultivate it, and it is vain to struggle against His righteous decree.'"

Moreover, during the American Indian Wars (1609–1924) for possession of the land, European white settlers considered the Indians "an inferior breed of men" and mocked them by using the terms "Lo" and "Mr. Lo" as disrespectful forms of address. In the Western U.S., those terms of address also referred to East Coast humanitarians whose noble-savage conception of the American Indian was unlike the warrior who confronted and fought the frontiersman. Concerning the story of the settler Thomas Alderdice, whose wife was captured and killed by Cheyenne Indians, The Leavenworth, Kansas, Times and Conservative newspaper said: "We wish some philanthropists, who talk about civilizing the Indians, could have heard this unfortunate and almost broken-hearted man tell his story. We think [that the philanthropists] would at least have wavered a little in their [high] opinion of the Lo family."

The Roman Empire
In Western literature, the Roman book De origine et situ Germanorum (On the Origin and Situation of the Germans, AD 98), by the historian Publius Cornelius Tacitus, introduced the anthropologic concept of the noble savage to the Western World; later a cultural stereotype who featured in the exotic-place tourism reported in the European travel literature of the 17th and the 18th centuries.

Al-Andalus
The 12th-century Andalusian novel The Living Son of the Vigilant (Ḥayy ibn Yaqẓān, 1160), by the polymath Ibn Tufail, explores the subject of natural theology as a means to understand the material world. The protagonist is a wild man isolated from his society, whose trials and tribulations lead him to knowledge of Allah by living a rustic life in harmony with Mother Nature.

Kingdom of Spain
In the 15th century, soon after arriving to the Americas in 1492, the Europeans employed the term savage to dehumanise the indigènes (noble-savage natives) of the newly discovered "New World" as ideological justification for the European colonization of the Americas, called the Age of Discovery (1492–1800); thus with the dehumanizing stereotypes of the noble savage and the indigène, the savage and the wild man the Europeans granted themselves the right to colonize the natives inhabiting the islands and the continental lands of the northern, the central, and the southern Americas.

The conquistador mistreatment of the indigenous peoples of the Viceroyalty of New Spain (1521–1821) eventually produced bad-conscience recriminations amongst the European intelligentsias for and against colonialism. As the Roman Catholic Bishop of Chiapas, the priest Bartolomé de las Casas witnessed the enslavement of the indigènes of New Spain, yet idealized them into morally innocent noble savages living a simple life in harmony with Mother Nature. At the Valladolid debate (1550–1551) of the moral philosophy of enslaving the native peoples of the Spanish colonies, Bishop de las Casas reported the noble-savage culture of the natives, especially noting their plain-manner social etiquette and that they did not have the social custom of telling lies.

Kingdom of France
In the intellectual debates of the late 16th and 17th centuries, philosophers used the racist stereotypes of the savage and the good savage as moral reproaches of the European monarchies fighting the Thirty Years' War (1618–1648) and the French Wars of Religion (1562–1598). In the essay "Of Cannibals" (1580), Michel de Montaigne reported that the Tupinambá people of Brazil ceremoniously eat the bodies of their dead enemies, as a matter of honour, whilst reminding the European reader that such wild man behavior was analogous to the religious barbarism of burning at the stake: "One calls ‘barbarism’ whatever he is not accustomed to." The academic Terence Cave further explains Montaigne's point of moral philosophy:

"The cannibal practices are admitted [by Montaigne] but presented as part of a complex and balanced set of customs and beliefs which 'make sense' in their own right. They are attached to a powerfully positive morality of valor and pride, one that would have been likely to appeal to early modern codes of honor, and they are contrasted with modes of behavior in the France of the wars of religion, which appear as distinctly less attractive, such as torture and barbarous methods of execution."

As philosophic reportage, "Of Cannibals" applies cultural relativism to compare the civilized European to the uncivilized noble savage. Montaigne's anthropological report about cannibalism in Brazil indicated that the Tupinambá people were neither a noble nor an exceptionally good folk, yet neither were the Tupinambá culturally or morally inferior to his contemporary, 16th-century European civilization. From the perspective of Classical liberalism of Montaigne's humanist portrayal of the customs of honor of the Tupinambá people indicates Western philosophic recognition that people are people, despite their different customs, traditions, and codes of honor. The academic David El Kenz explicates Montaigne's background concerning the violence of customary morality:

"In his Essais Montaigne discussed the first three wars of religion (1562–63; 1567–68; 1568–70) quite specifically; he had personally participated in [the wars], on the side of the [French] royal army, in southwestern France. The [anti-Protestant] St. Bartholomew's Day massacre [1572] led him to retire to his lands in the Périgord region, and remain silent on all public affairs until the 1580s. Thus, it seems that he was traumatized by the massacre. To him, cruelty was a criterion that differentiated the Wars of Religion [1562–1598] from previous conflicts, which he idealized. Montaigne considered that three factors accounted for the shift from regular war to the carnage of civil war: popular intervention, religious demagogy, and the never-ending aspect of the conflict.

He chose to depict cruelty through the image of hunting, which fitted with the tradition of condemning hunting for its association with blood and death, but it was still quite surprising, to the extent that this practice was part of the aristocratic way of life. Montaigne reviled hunting by describing it as an urban massacre scene. In addition, the man–animal relationship allowed him to define virtue, which he presented as the opposite of cruelty. [As] a sort of natural benevolence based on personal feelings.

Montaigne associated the [human] propensity to cruelty toward animals, with that exercised toward men. After all, following the St. Bartholomew's Day massacre, the invented image of Charles IX shooting Huguenots from the Louvre Palace window did combine the established reputation of the King as a hunter, with a stigmatization of hunting, a cruel and perverted custom, did it not?"

Literature

The themes about the person and persona of the noble savage are the subjects of the novel Oroonoko: Or the Royal Slave (1688), by Aphra Behn, which is the tragic love story between Oroonoko and the beautiful Imoinda, an African king and queen respectively. At Coramantien, Ghana, the protagonist is deceived and delivered into the Atlantic slave trade (16th–19th centuries), and Oroonoko becomes a slave of plantation colonists in Surinam (Dutch Guiana, 1667–1954). In the course of his enslavement, Oroonoko meets the woman who narrates to the reader the life and love of Prince Oroonoko, his enslavement, his leading a slave rebellion against the Dutch planters of Surinam, and his consequent execution by the Dutch colonialists.

Despite Behn having written the popular novel for money, Oroonoko proved to be political-protest literature against slavery, because the story, plot, and characters followed the narrative conventions of the European romance novel. In the event, the Irish playwright Thomas Southerne adapted the novel Oroonoko into the stage play Oroonoko: A Tragedy (1696) that stressed the pathos of the love story, the circumstances, and the characters, which consequently gave political importance to the play and the novel for the candid cultural representation of slave-powered European colonialism.

Romantic primitivism
In the 1st century AD, in the book Germania, Tacitus ascribed to the Germans the cultural superiority of the noble savage way of life, because Rome was too civilized, unlike the savage Germans. The art historian Erwin Panofsky explains that:

"There had been, from the beginning of Classical speculation, two contrasting opinions about the natural state of man, each of them, of course, a 'Gegen-Konstruktion' to the conditions under which it was formed. One view, termed 'soft' primitivism in an illuminating book by Lovejoy and Boas, conceives of primitive life as a golden age of plenty, innocence, and happiness — in other words, as civilized life purged of its vices. The other, 'hard' form of primitivism conceives of primitive life as an almost subhuman existence full of terrible hardships and devoid of all comforts — in other words, as civilized life stripped of its virtues."

In the novel The Adventures of Telemachus, Son of Ulysses (1699), in the “Encounter with the Mandurians” (Chapter IX), the theologian François Fénelon presented the noble savage stock character in conversation with civilized men from Europe about possession and ownership of Nature:

"On our arrival upon this coast we found there a savage race who lived by hunting and by the fruits which the trees spontaneously produced. These people were greatly surprised and alarmed by the sight of our ships and arms and retired to the mountains. But since our soldiers were curious to see the country and hunt deer, they were met by some of these savage fugitives.

The leaders of the savages accosted them thus: “We abandoned for you, the pleasant sea-coast, so that we have nothing left, but these almost inaccessible mountains: at least, it is just that you leave us in peace and liberty. Go, and never forget that you owe your lives to our feeling of humanity. Never forget that it was from a people whom you call rude and savage that you receive this lesson in gentleness and generosity. We abhor that brutality which, under the gaudy names of ambition and glory, sheds the blood of men who are all brothers. We value health, frugality, liberty, and vigor of body and mind: the love of virtue, the fear of the gods, a natural goodness toward our neighbors, attachment to our friends, fidelity to all the world, moderation in prosperity, fortitude in adversity, courage always bold to speak the truth, and abhorrence of flattery.

If the offended gods so far blind you as to make you reject peace, you will find, when it is too late, that the people who are moderate and lovers of peace are the most formidable in war.”"

In the 18th century, British intellectual debate about Primitivism used the Highland Scots as a local, European example of a noble savage people, as often as the American Indians were the example. The English cultural perspective scorned the ostensibly rude manners of the Highlanders, whilst admiring and idealizing the toughness of person and character of the Highland Scots; the writer Tobias Smollett described the Highlanders:

"They greatly excel the Lowlanders in all the exercises that require agility; they are incredibly abstemious, and patient of hunger and fatigue; so steeled against the weather, that in traveling, even when the ground is covered with snow, they never look for a house, or any other shelter but their plaid, in which they wrap themselves up, and go to sleep under the cope of heaven. Such people, in quality of soldiers, must be invincible. . .."

Thomas Hobbes
The imperial politics of Western Europe featured debates about soft primitivism and hard primitivism worsened with the publication of Leviathan, or The Matter, Forme and Power of a Commonwealth Ecclesiasticall and Civil (1651), by Thomas Hobbes, which justified the central-government regime of absolute monarchy as politically necessary for societal stability and the national security of the state:

"Whatsoever therefore is consequent to a time of War, where every man is Enemy to every man; the same is consequent to the time, wherein men live without other security, than what their own strength, and their own invention shall furnish them withall. In such condition, there is no place for Industry; because the fruit thereof is uncertain; and consequently no Culture of the Earth; no Navigation, nor use of the commodities that may be imported by Sea; no commodious Building; no Instruments of moving, and removing such things as require much force; no Knowledge of the face of the Earth; no account of Time; no Arts; no Letters; no Society; and which is worst of all, continuall feare, and danger of violent death; And the life of man, solitary, poore, nasty, brutish, and short."

In the Kingdom of France, critics of the Crown and Church risked censorship and summary imprisonment without trial, and primitivism was political protest against the repressive imperial règimes of Louis XIV and Louis XV. In his travelogue of North America, the writer Louis-Armand de Lom d'Arce de Lahontan, Baron de Lahontan, who had lived with the Huron Indians (Wyandot people), ascribed deist and egalitarian politics to Adario, a Canadian Indian who played the role of noble savage for French explorers:

"Adario sings the praises of Natural Religion. As against society, he puts forward a sort of primitive Communism, of which the certain fruits are Justice and a happy life. [The Savage] looks with compassion on poor civilized man — no courage, no strength, incapable of providing himself with food and shelter: a degenerate, a moral cretin, a figure of fun in his blue coat, his red hose, his black hat, his white plume and his green ribands. He never really lives, because he is always torturing the life out of himself to clutch at wealth and honors, which, even if he wins them, will prove to be but glittering illusions.  For science and the arts are but the parents of corruption. The Savage obeys the will of Nature, his kindly mother, therefore he is happy. It is civilized folk who are the real barbarians."

"Interest in the remote peoples of the Earth, in the unfamiliar civilizations of the East, in the untutored races of America and Africa, was vivid in France in the 18th century. Everyone knows how Voltaire and Montesquieu used Hurons or Persians to hold up the [looking] glass to Western manners and morals, as Tacitus used the Germans to criticize the society of Rome. But very few ever look into the seven volumes of the Abbé Raynal's History of the Two Indies, which appeared in 1772. It is however one of the most remarkable books of the century. Its immediate practical importance lay in the array of facts which it furnished to the friends of humanity in the movement against negro slavery. But it was also an effective attack on the Church and the sacerdotal system. Raynal brought home to the conscience of Europeans the miseries which had befallen the natives of the New World through the Christian conquerors and their priests. He was not indeed an enthusiastic preacher of Progress. He was unable to decide between the comparative advantages of the savage state of nature and the most highly cultivated society. But he observes that 'the human race is what we wish to make it', that the felicity of Man depends entirely on the improvement of legislation, and his view is generally optimistic."

Benjamin Franklin
Benjamin Franklin was critical of government indifference to the Paxton Boys massacre of the Susquehannock in Lancaster County, Pennsylvania in December 1763. Within weeks of the murders, he published A Narrative of the Late Massacres in Lancaster County, in which he referred to the Paxton Boys as "Christian white savages" and called for judicial punishment of those who carried the Bible in one hand and a hatchet in the other.

When the Paxton Boys led an armed march on Philadelphia in February 1764, with the intent of killing the Moravian Lenape and Mohican who had been given shelter there, Franklin recruited associators including Quakers to defend the city and led a delegation that met with the Paxton leaders at Germantown outside Philadelphia. The marchers dispersed after Franklin convinced them to submit their grievances in writing to the government.

In his 1784 pamphlet Remarks Concerning the Savages of North America, Franklin especially noted the racism inherent to the colonists using the word savage as a synonym for indigenous people:

"'Savages' we call them, because their manners differ from ours, which we think the perfection of civility; they think the same of theirs."

Franklin praised the way of life of indigenous people, their customs of hospitality, their councils of government, and acknowledged that while some Europeans had foregone civilization to live like a "savage", the opposite rarely occurred, because few indigenous people chose "civilization" over "savagery".

Jean-Jacques Rousseau

Like the Earl of Shaftesbury in the Inquiry Concerning Virtue, or Merit (1699), Jean-Jacques Rousseau likewise believed that Man is innately good, and that urban civilization, characterized by jealousy, envy, and self-consciousness, has made men bad in character. In Discourse on the Origins of Inequality Among Men (1754), Rousseau said that in the primordial state of nature, man was a solitary creature who was not méchant (bad), but was possessed of an "innate repugnance to see others of his kind suffer."

Moreover, as the philosophe of the Jacobin radicals of the French Revolution (1789–1799), ideologues accused Rousseau of claiming that the noble savage was a real type of man, despite the term not appearing in work written by Rousseau; in addressing The Supposed Primitivism of Rousseau’s Discourse on Inequality (1923), the academic Arthur O. Lovejoy said that:

"The notion that Rousseau’s Discourse on Inequality was essentially a glorification of the State of Nature, and that its influence tended to wholly or chiefly to promote “Primitivism” is one of the most persistent historical errors."

In the Discourse on the Origins of Inequality, Rousseau said that the rise of humanity began a "formidable struggle for existence" between the species man and the other animal species of Nature. That under the pressure of survival emerged le caractère spécifique de l'espèce humaine, the specific quality of character, which distinguishes man from beast, such as intelligence capable of "almost unlimited development", and the faculté de se perfectionner, the capability of perfecting himself.

Having invented tools, discovered fire, and transcended the state of nature, Rousseau said that "it is easy to see. . . . that all our labors are directed upon two objects only, namely, for oneself, the commodities of life, and consideration on the part of others"; thus amour propre (self-regard) is a "factitious feeling arising, only in society, which leads a man to think more highly of himself than of any other." Therefore, "it is this desire for reputation, honors, and preferment which devours us all . . . this rage to be distinguished, that we own what is best and worst in men — our virtues and our vices, our sciences and our errors, our conquerors and our philosophers — in short, a vast number of evil things and a small number of good [things]"; that is the aspect of character "which inspires men to all the evils which they inflict upon one another."

Men become men only in a civil society based upon law, and only a reformed system of education can make men good; the academic Lovejoy explains that:

"For Rousseau, man's good lay in departing from his 'natural' state — but not too much; 'perfectability', up to a certain point, was desirable, though beyond that point an evil. Not its infancy but its jeunesse [youth] was the best age of the human race. The distinction may seem to us slight enough; but in the mid-eighteenth century it amounted to an abandonment of the stronghold of the primitivistic position. Nor was this the whole of the difference. As compared with the then-conventional pictures of the savage state, Rousseau's account, even of this third stage, is far less idyllic; and it is so because of his fundamentally unfavorable view of human nature quâ human. [Rousseau's] savages are quite unlike Dryden's Indians: 'Guiltless men, that danced away their time, / Fresh as the groves and happy as their clime' or Mrs. Aphra Behn's natives of Surinam, who represented an absolute idea of the first state of innocence 'before men knew how to sin.' The men in Rousseau's 'nascent society' already had 'bien des querelles et des combats' [many quarrels and fights]; l'amour propre was already manifest in them and slights or affronts were consequently visited with vengeances terribles."

Rousseau proposes reorganizing society with a social contract that will "draw from the very evil from which we suffer the remedy which shall cure it"; Lovejoy notes that in the Discourse on the Origins of Inequality, Rousseau:

"declares that there is a dual process going on through history; on the one hand, an indefinite progress in all those powers and achievements which express merely the potency of man's intellect; on the other hand, an increasing estrangement of men from one another, an intensification of ill-will and mutual fear, culminating in a monstrous epoch of universal conflict and mutual destruction. And the chief cause of the latter process Rousseau, following Hobbes and [Bernard] Mandeville, found, as we have seen, in that unique passion of the self-conscious animal — pride, self esteem, le besoin de se mettre au dessus des autres [the need to put oneself above others]. A large survey of history does not belie these generalizations, and the history of the period since Rousseau wrote lends them a melancholy verisimilitude. Precisely the two processes, which he described have been going on upon a scale beyond all precedent: immense progress in man's knowledge and in his powers over nature, and, at the same time, a steady increase of rivalries, distrust, hatred and, at last, 'the most horrible state of war' [Moreover, Rousseau] failed to realize fully how strongly amour propre tended to assume a collective form  in pride of race, of nationality, of class."

Charles Dickens
In 1853, in the weekly magazine Household Words, Charles Dickens published a negative review of the Indian Gallery cultural program, by the portraitist George Catlin, which then was touring England. About Catlin's oil paintings of the North American natives, the poet and critic Charles Baudelaire said that "He [Catlin] has brought back alive the proud and free characters of these chiefs; both their nobility and manliness."

Despite European idealization of the noble savage as a type of morally superior man, in the essay “The Noble Savage” (1853), Dickens expressed repugnance for the American Indians and their way of life, because they were dirty and cruel and continually quarrelled among themselves. In the satire of romanticised primitivism Dickens showed that the painter Catlin, the Indian Gallery of portraits and landscapes, and the white people who admire the idealized American Indians or the bushmen of Africa are examples of the term noble savage used as a means of Othering a person into a racialist stereotype. Dickens begins by dismissing the noble savage as not being a distinct human being:

"To come to the point at once, I beg to say that I have not the least belief in the Noble Savage. I consider him a prodigious nuisance and an enormous superstition. . ..

I don't care what he calls me. I call him a savage, and I call a savage a something highly desirable to be civilized off the face of the Earth. . ..

The noble savage sets a king to reign over him, to whom he submits his life and limbs without a murmur or question, and whose whole life is passed chin deep in a lake of blood; but who, after killing incessantly, is in his turn killed by his relations and friends the moment a grey hair appears on his head. All the noble savage's wars with his fellow-savages (and he takes no pleasure in anything else) are wars of extermination — which is the best thing I know of him, and the most comfortable to my mind when I look at him. He has no moral feelings of any kind, sort, or description; and his 'mission' may be summed up as simply diabolical."

Dickens ends his cultural criticism by reiterating his argument against the romanticized persona of the noble savage:

"To conclude as I began. My position is that if we have anything to learn from the Noble Savage it is what to avoid. His virtues are a fable; his happiness is a delusion; his nobility, nonsense. We have no greater justification for being cruel to the miserable object, than for being cruel to a WILLIAM SHAKESPEARE or an ISAAC NEWTON; but he passes away before an immeasurably better and higher power than ever ran wild in any earthly woods, and the world will be all the better when this place [Earth] knows him no more."

Theories of racialism
In 1860, the physician John Crawfurd and the anthropologist James Hunt identified the racial stereotype of the noble savage as an example of scientific racism, yet, as advocates of polygenism — that each race is a distinct species of Man — Crawfurd and Hunt dismissed the arguments of their opponents by accusing them of being proponents of "Rousseau's Noble Savage". Later in his career, Crawfurd re-introduced the noble savage term to modern anthropology and deliberately ascribed coinage of the term to Jean-Jacques Rousseau.

Supporters of primitivism
In "The Prehistory of Warfare: Misled by Ethnography" (2006), the researchers Jonathan Haas and Matthew Piscitelli challenged the idea that the human species is innately bellicose and that warfare is an occasional activity by a society, but is not an inherent part of human culture. Moreover, the UNESCO's Seville Statement on Violence (1986) specifically rejects claims that the human propensity towards violence has a genetic basis.

Anarcho-primitivists, such as the philosopher John Zerzan, rely upon a strong ethical dualism between Anarcho-primitivism and civilization; hence, "life before domestication [and] agriculture was, in fact, largely one of leisure, intimacy with nature, sensual wisdom, sexual equality, and health." Zerzan's claims about the moral superiority of primitive societies are based on a certain reading of the works of anthropologists, such as Marshall Sahlins and Richard Borshay Lee, wherein the anthropologic category of primitive society is restricted to hunter-gatherer societies who have no domesticated animals or agriculture, e.g. the stable social hierarchy of the American Indians of the north-west North America, who live from fishing and foraging, is attributed to having domesticated dogs and the cultivation of tobacco, that animal husbandry and agriculture equal civilization.

In anthropology, the argument has been made that key tenets of the noble-savage idea inform cultural investments in places seemingly removed from the Tropics, such as the Mediterranean and specifically Greece, during the debt crisis by European institutions (such as documenta) and by various commentators who found Greece to be a positive inspiration for resistance to austerity policies and the neoliberalism of the EU These commentators' positive embrace of the periphery (their noble-savage ideal) is the other side of the mainstream views, also dominant during that period, that stereotyped Greece and the South as lazy and corrupt.

Opponents of primitivism
In War Before Civilization: the Myth of the Peaceful Savage (1996), the archaeologist Lawrence H. Keeley said that the "widespread myth" that "civilized humans have fallen from grace from a simple, primeval happiness, a peaceful golden age" is contradicted and refuted by archeologic evidence that indicates that violence was common practice in early human societies. That the noble savage paradigm has warped anthropological literature to political ends. Moreover, the anthropologist Roger Sandall likewise accused anthropologists of exalting the noble savage above civilized man, by way of designer tribalism, a form of romanticised primitivism that dehumanises Indigenous peoples into the cultural stereotype of the indigène peoples who live a primitive way of life demarcated and limited by tradition, which discouraged Indigenous peoples from cultural assimilation into the dominant Western culture.

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English Renaissance theatre

English Renaissance theatre, also known as Renaissance English theatre and Elizabethan theatre, refers to the theatre of England between 1558 and 1642.

This is the style of the plays of William Shakespeare, Christopher Marlowe and Ben Jonson.

Background
The term English Renaissance theatre encompasses the period between 1562—following a performance of Gorboduc, the first English play using blank verse, at the Inner Temple during the Christmas season of 1561—and the ban on theatrical plays enacted by the English Parliament in 1642. In a strict sense "Elizabethan" only refers to the period of Queen Elizabeth's reign (1558–1603). English Renaissance theatre may be said to encompass Elizabethan theatre from 1562 to 1603, Jacobean theatre from 1603 to 1625, and Caroline theatre from 1625 to 1642.

Along with the economics of the profession, the character of the drama changed towards the end of the period. Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses. With the development of the private theatres, drama became more oriented towards the tastes and values of an upper-class audience. By the later part of the reign of Charles I, few new plays were being written for the public theatres, which sustained themselves on the accumulated works of the previous decades.

Grammar schools
The English grammar schools, like those on the continent, placed special emphasis on the trivium: grammar, logic, and rhetoric. Though rhetorical instruction was intended as preparation for careers in civil service such as law, the rhetorical canons of memory (memoria) and delivery (pronuntiatio), gesture and voice, as well as exercises from the progymnasmata, such as the prosopopoeia, taught theatrical skills. Students would typically analyse Latin and Greek texts, write their own compositions, memorise them, and then perform them in front of their instructor and their peers. Records show that in addition to this weekly performance, students would perform plays on holidays, and in both Latin and English.

Choir schools
Choir schools connected with the Elizabethan court included St. George’s Chapel, the Chapel Royal, and St. Paul’s. These schools performed plays and other court entertainments for the Queen. Between the 1560s and 1570s these schools had begun to perform for general audiences as well. Playing companies of boy actors were derived from choir schools. John Lyly is an earlier example of a playwright contracted to write for the children's companies; Lyly wrote Gallathea, Endymion, and Midas for Paul’s Boys. Another example is Ben Jonson, who wrote Cynthia’s Revels.

Universities
Academic drama stems from late medieval and early modern practices of miracles and morality plays as well as the Feast of Fools and the election of a Lord of Misrule. The Feast of Fools includes mummer plays. The universities, particularly Oxford and Cambridge, were attended by students studying for bachelor's degrees and master's degrees, followed by doctorates in Law, Medicine, and Theology. In the 1400s, dramas were often restricted to mummer plays with someone who read out all the parts in Latin. With the rediscovery and redistribution of classical materials during the English Renaissance, Latin and Greek plays began to be restaged. These plays were often accompanied by feasts. Queen Elizabeth I viewed dramas during her visits to Oxford and Cambridge. A well-known play cycle which was written and performed in the universities was the Parnassus Plays.

Inns of Court
Upon graduation, many university students, especially those going into law, would reside and participate in the Inns of Court. The Inns of Court were communities of working lawyers and university alumni. Notable literary figures and playwrights who resided in the Inns of Court include John Donne, Francis Beaumont, John Marston, Thomas Lodge, Thomas Campion, Abraham Fraunce, Sir Philip Sidney, Sir Thomas More, Sir Francis Bacon, and George Gascoigne. Like the university, the Inns of Court elected their own Lord of Misrule. Other activities included participation in moot court, disputation, and masques. Plays written and performed in the Inns of Court include Gorboduc, Gismund of Salerne, and The Misfortunes of Arthur. An example of a famous masque put on by the Inns was James Shirley's The Triumph of Peace. Shakespeare's The Comedy of Errors and Twelfth Night were also performed here, although written for commercial theater.

Establishment of playhouses
The first permanent English theatre, the Red Lion, opened in 1567 but it was a short-lived failure. The first successful theatres, such as The Theatre, opened in 1576.

The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. Once they were in operation, drama could become a fixed and permanent, rather than transitory, phenomenon. Their construction was prompted when the Mayor and Corporation of London first banned plays in 1572 as a measure against the plague, and then formally expelled all players from the city in 1575. This prompted the construction of permanent playhouses outside the jurisdiction of London, in the liberties of Halliwell/Holywell in Shoreditch and later the Clink, and at Newington Butts near the established entertainment district of St. George's Fields in rural Surrey. The Theatre was constructed in Shoreditch in 1576 by James Burbage with his brother-in-law John Brayne (the owner of the unsuccessful Red Lion playhouse of 1567) and the Newington Butts playhouse was set up, probably by Jerome Savage, some time between 1575 and 1577. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).

Playhouse architecture
Archaeological excavations on the foundations of the Rose and the Globe in the late 20th century showed that all the London theatres had individual differences, but their common function necessitated a similar general plan. The public theatres were three stories high and built around an open space at the centre. Usually polygonal in plan to give an overall rounded effect, although the Red Bull and the first Fortune were square. The three levels of inward-facing galleries overlooked the open centre, into which jutted the stage: essentially a platform surrounded on three sides by the audience. The rear side was restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony, as in Romeo and Juliet and Antony and Cleopatra, or as a position from which an actor could harangue a crowd, as in Julius Caesar. The pit was the place where the poorest audience members could view the show. Around the 1600s a new area was introduced into the theaters, a 'gullet'. A gullet was an invisible corridor that the actors used to go to the wings of the stage where people usually changed clothes quickly.

The playhouses were generally built with timber and plaster. Individual theatre descriptions give additional information about their construction, such as flint stones being used to build the Swan. Theatres were also constructed to be able to hold a large number of people.

A different model was developed with the Blackfriars Theatre, which came into regular use on a long-term basis in 1599. The Blackfriars was small in comparison to the earlier theatres and roofed rather than open to the sky. It resembled a modern theatre in ways that its predecessors did not. Other small enclosed theatres followed, notably the Whitefriars (1608) and the Cockpit (1617). With the building of the Salisbury Court Theatre in 1629 near the site of the defunct Whitefriars, the London audience had six theatres to choose from: three surviving large open-air public theatres—the Globe, the Fortune, and the Red Bull—and three smaller enclosed private theatres: the Blackfriars, the Cockpit, and the Salisbury Court. Audiences of the 1630s benefited from a half-century of vigorous dramaturgical development; the plays of Marlowe and Shakespeare and their contemporaries were still being performed on a regular basis, mostly at the public theatres, while the newest works of the newest playwrights were abundant as well, mainly at the private theatres.

Audiences
Around 1580, when both the Theater and the Curtain were full on summer days, the total theater capacity of London was about 5000 spectators. With the building of new theater facilities and the formation of new companies, London's total theater capacity exceeded 10,000 after 1610.

Ticket prices in general varied during this time period. The cost of admission was based on where in the theatre a person wished to be situated, or based on what a person could afford. If people wanted a better view of the stage or to be more separate from the crowd, they would pay more for their entrance. Due to inflation that occurred during this time period, admission increased in some theaters from a penny to a sixpence or even higher.

Commercial theaters were largely located just outside the boundaries of the City of London, since City authorities tended to be wary of the adult playing companies, but plays were performed by touring companies all over England. English companies even toured and performed English plays abroad, especially in Germany and in Denmark.

Upper class spectators would pay for seats in the galleries, using cushions for comfort. In the Globe Theatre, nobles could sit directly by the side on the stage.

Performances
The acting companies functioned on a repertory system: unlike modern productions that can run for months or years on end, the troupes of this era rarely acted the same play two days in a row. Thomas Middleton's A Game at Chess ran for nine straight performances in August 1624 before it was closed by the authorities; but this was due to the political content of the play and was a unique, unprecedented and unrepeatable phenomenon. The 1592 season of Lord Strange's Men at the Rose Theatre was far more representative: between 19 February and 23 June the company played six days a week, minus Good Friday and two other days. They performed 23 different plays, some only once, and their most popular play of the season, The First Part of Hieronimo, based on Kyd's The Spanish Tragedy, 15 times. They never played the same play two days in a row, and rarely the same play twice in a week. The workload on the actors, especially the leading performers like Richard Burbage or Edward Alleyn, must have been tremendous.

One distinctive feature of the companies was that they included only males. Female parts were played by adolescent boy players in women's costume. Some companies were composed entirely of boy players. Performances in the public theatres (like the Globe) took place in the afternoon with no artificial lighting, but when, in the course of a play, the light began to fade, candles were lit. In the enclosed private theatres (like the Blackfriars) artificial lighting was used throughout. Plays contained little to no scenery as the scenery was described by the actors or indicated by costume through the course of the play.

In the Elizabethan era, research has been conclusive about how many actors and troupes there were in the 16th century, but little research delves into the roles of the actors on the English renaissance stage. The first point is that during the Elizabethan era, women were not allowed to act on stage. The actors were all male; in fact, most were boys. For plays written that had male and female parts, the female parts were played by the youngest boy players. Stronger female roles in tragedies were acted by older boy players because they had more experience. As a boy player, many skills had to be implemented such as voice and athleticism (fencing was one).

In Elizabethan entertainment, troupes were created and they were considered the actor companies. They travelled around England as drama was the most entertaining art at the time.

Elizabethan actors never played the same show on successive days and added a new play to their repertoire every other week. These actors were getting paid within these troupes so for their job, they would constantly learn new plays as they toured different cities in England. In these plays, there were bookkeepers that acted as the narrators of these plays and they would introduce the actors and the different roles they played. At some points, the bookkeeper would not state the narrative of the scene, so the audience could find out for themselves. In Elizabethan and Jacobean plays, the plays often exceeded the number of characters/roles and did not have enough actors to fulfil them, thus the idea of doubling roles came to be. Doubling roles is used to reinforce a plays theme by having the actor act out the different roles simultaneously. The reason for this was for the acting companies to control salary costs, or to be able to perform under conditions where resources such as other actor companies lending actors were not present.

There were two acting styles implemented: formal and natural. Formal acting is objective and traditional, while natural acting attempts to create an illusion for the audience by remaining in character and imitating the fictional circumstances. The formal actor symbolises while the natural actor interprets. The natural actor impersonates while the formal actor represents the role. Natural and formal are opposites of each other, where natural acting is subjective. Overall, the use of these acting styles and the doubled roles dramatic device made Elizabethan plays very popular.

Costumes
One of the main uses of costume during the Elizabethan era was to make up for the lack of scenery, set, and props on stage. It created a visual effect for the audience, and it was an integral part of the overall performance. Since the main visual appeal on stage were the costumes, they were often bright in colour and visually entrancing. Colours symbolized social hierarchy, and costumes were made to reflect that. For example, if a character was royalty, their costume would include purple. The colours, as well as the different fabrics of the costumes, allowed the audience to know the status of each character when they first appeared on stage.

Costumes were collected in inventory. More often than not, costumes wouldn't be made individually to fit the actor. Instead, they would be selected out of the stock that theatre companies would keep. A theatre company reused costumes when possible and would rarely get new costumes made. Costumes themselves were expensive, so usually players wore contemporary clothing regardless of the time period of the play. The most expensive pieces were given to higher class characters because costuming was used to identify social status on stage. The fabrics within a playhouse would indicate the wealth of the company itself. The fabrics used the most were: velvet, satin, silk, cloth-of-gold, lace and ermine. For less significant characters, actors would use their own clothes.

Actors also left clothes in their will for following actors to use. Masters would also leave clothes for servants in their will, but servants weren't allowed to wear fancy clothing, instead, they sold the clothes back to theatre companies. In the Tudor and Elizabethan eras, there were laws stating that certain classes could only wear clothing fitting of their status in society. There was a discrimination of status within the classes. Higher classes flaunted their wealth and power through the appearance of clothing, however, courtesans and actors were the only exceptions – as clothing represented their 'working capital', as it were, but they were only permitted to dress so while working. If actors belonged to a licensed acting company, they were allowed to dress above their standing in society for specific roles in a production.

Playwrights
The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality and extent. About 3,000 plays were written for the Elizabethan stage, and although most of them have been lost, at least 543 remain.

The people who wrote these plays were primarily self-made men from modest backgrounds. Some of them were educated at either Oxford or Cambridge, but many were not. Although William Shakespeare and Ben Jonson were actors, the majority do not seem to have been performers, and no major author who came on to the scene after 1600 is known to have supplemented his income by acting. Their lives were subject to the same levels of danger and earlier mortality as all who lived during the early modern period: Christopher Marlowe was killed in an apparent tavern brawl, while Ben Jonson killed an actor in a duel. Several were probably soldiers.

Playwrights were normally paid in increments during the writing process, and if their play was accepted, they would also receive the proceeds from one day's performance. However, they had no ownership of the plays they wrote. Once a play was sold to a company, the company owned it, and the playwright had no control over casting, performance, revision or publication.

The profession of dramatist was challenging and far from lucrative. Entries in Philip Henslowe's Diary show that in the years around 1600 Henslowe paid as little as £6 or £7 per play. This was probably at the low end of the range, though even the best writers could not demand too much more. A playwright, working alone, could generally produce two plays a year at most. In the 1630s Richard Brome signed a contract with the Salisbury Court Theatre to supply three plays a year, but found himself unable to meet the workload. Shakespeare produced fewer than 40 solo plays in a career that spanned more than two decades: he was financially successful because he was an actor and, most importantly, a shareholder in the company for which he acted and in the theatres they used. Ben Jonson achieved success as a purveyor of Court masques, and was talented at playing the patronage game that was an important part of the social and economic life of the era. Those who were purely playwrights fared far less well: the biographies of early figures like George Peele and Robert Greene, and later ones like Brome and Philip Massinger, are marked by financial uncertainty, struggle and poverty.

Playwrights dealt with the natural limitation on their productivity by combining into teams of two, three, four, and even five to generate play texts. The majority of plays written in this era were collaborations, and the solo artists who generally eschewed collaborative efforts, like Jonson and Shakespeare, were the exceptions to the rule. Dividing the work, of course, meant dividing the income; but the arrangement seems to have functioned well enough to have made it worthwhile. Of the 70-plus known works in the canon of Thomas Dekker, roughly 50 are collaborations. In a single year (1598) Dekker worked on 16 collaborations for impresario Philip Henslowe, and earned £30, or a little under 12 shillings per week—roughly twice as much as the average artisan's income of 1s. per day. At the end of his career, Thomas Heywood would famously claim to have had "an entire hand, or at least a main finger" in the authorship of some 220 plays. A solo artist usually needed months to write a play (though Jonson is said to have done Volpone in five weeks); Henslowe's Diary indicates that a team of four or five writers could produce a play in as little as two weeks. Admittedly, though, the Diary also shows that teams of Henslowe's house dramatists—Anthony Munday, Robert Wilson, Richard Hathwaye, Henry Chettle, and the others, even including a young John Webster—could start a project, and accept advances on it, yet fail to produce anything stageworthy.

Timeline of English Renaissance playwrights
Short yellow lines indicate 27 years—the average age these authors began their playwrighting careers

Genres
Genres of the period included the history play, which depicted English or European history. Shakespeare's plays about the lives of kings, such as Richard III and Henry V, belong to this category, as do Christopher Marlowe's Edward II and George Peele's Famous Chronicle of King Edward the First. History plays also dealt with more recent events, like A Larum for London which dramatizes the sack of Antwerp in 1576. A better known play, Peele's The Battle of Alcazar (c. 1591), depicts the battle of Alcácer Quibir in 1578.

Tragedy was a very popular genre. Marlowe's tragedies were exceptionally successful, such as Dr. Faustus and The Jew of Malta. The audiences particularly liked revenge dramas, such as Thomas Kyd's The Spanish Tragedy. The four tragedies considered to be Shakespeare's greatest (Hamlet, Othello, King Lear and Macbeth) were composed during this period.

Comedies were common, too. A subgenre developed in this period was the city comedy, which deals satirically with life in London after the fashion of Roman New Comedy. Examples are Thomas Dekker's The Shoemaker's Holiday and Thomas Middleton's A Chaste Maid in Cheapside.

Though marginalised, the older genres like pastoral (The Faithful Shepherdess, 1608), and even the morality play (Four Plays in One, ca. 1608–13) could exert influences. After about 1610, the new hybrid subgenre of the tragicomedy enjoyed an efflorescence, as did the masque throughout the reigns of the first two Stuart kings, James I and Charles I.

Plays on biblical themes were common, Peele's David and Bethsabe being one of the few surviving examples.

Printed texts
Only a minority of the plays of English Renaissance theatre were ever printed. Of Heywood's 220 plays, only about 20 were published in book form. A little over 600 plays were published in the period as a whole, most commonly in individual quarto editions. (Larger collected editions, like those of Shakespeare's, Ben Jonson's, and Beaumont and Fletcher's plays, were a late and limited development.) Through much of the modern era, it was thought that play texts were popular items among Renaissance readers that provided healthy profits for the stationers who printed and sold them. By the turn of the 21st century, the climate of scholarly opinion shifted somewhat on this belief: some contemporary researchers argue that publishing plays was a risky and marginal business—though this conclusion has been disputed by others. Some of the most successful publishers of the English Renaissance, like William Ponsonby or Edward Blount, rarely published plays.

A small number of plays from the era survived not in printed texts but in manuscript form.

The end of English Renaissance theatre
The rising Puritan movement was hostile toward theatre, as they felt that "entertainment" was sinful. Politically, playwrights and actors were clients of the monarchy and aristocracy, and most supported the Royalist cause. The Puritan faction, long powerful in London, gained control of the city early in the First English Civil War, and on 2 September 1642, the Long Parliament, pushed by the Parliamentarian party, under Puritan influence, banned the staging of plays in the London theatres though it did not, contrary to what is commonly stated, order the closure, let alone the destruction, of the theatres themselves:

"Whereas the distressed Estate of Ireland, steeped in her own Blood, and the distracted Estate of England, threatened with a Cloud of Blood by a Civil War, call for all possible Means to appease and avert the Wrath of God, appearing in these Judgements; among which, Fasting and Prayer, having been often tried to be very effectual, having been lately and are still enjoined; and whereas Public Sports do not well agree with Public Calamities, nor Public Stage-plays with the Seasons of Humiliation, this being an Exercise of sad and pious Solemnity, and the other being Spectacles of Pleasure, too commonly expressing lascivious Mirth and Levity: It is therefore thought fit, and Ordained, by the Lords and Commons in this Parliament assembled, That, while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease, and be forborn, instead of which are recommended to the People of this Land the profitable and seasonable considerations of Repentance, Reconciliation, and Peace with God, which probably may produce outward Peace and Prosperity, and bring again Times of Joy and Gladness to these Nations."

The Act purports the ban to be temporary ("... while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease and be forborn") but does not assign a time limit to it.

Even after 1642, during the English Civil War and the ensuing Interregnum (English Commonwealth), some English Renaissance theatre continued. For example, short comical plays called drolls were allowed by the authorities, while full-length plays were banned. The theatre buildings were not closed but rather were used for purposes other than staging plays.

The performance of plays remained banned for most of the next eighteen years, becoming allowed again after the Restoration of the monarchy in 1660. The theatres began performing many of the plays of the previous era, though often in adapted forms. New genres of Restoration comedy and spectacle soon evolved, giving English theatre of the later seventeenth century its distinctive character.

List of playwrights

 * William Alabaster
 * William Alexander, 1st Earl of Stirling
 * Robert Armin
 * Barnabe Barnes
 * Lording Barry
 * Francis Beaumont
 * William Berkeley
 * Samuel Brandon
 * Antony Brewer
 * Richard Brome
 * Samuel Brooke
 * William Browne (poet)
 * Thomas Campion
 * Lodowick Carlell
 * William Cartwright
 * Elizabeth Cary, Viscountess Falkland
 * Robert Cecil, 1st Earl of Salisbury
 * George Chapman
 * Henry Cheke
 * Henry Chettle
 * John Clavell
 * Anthony Chute
 * Robert Daborne
 * Samuel Daniel
 * William Davenant
 * Robert Davenport
 * John Davidson
 * John Day
 * Thomas Dekker
 * Michael Drayton
 * Richard Edwardes
 * George Ferebe
 * Nathan Field
 * John Fletcher
 * Phineas Fletcher
 * John Ford
 * Abraham Fraunce
 * Ulpian Fulwell
 * William Gager
 * George Gascoigne
 * Henry Glapthorne
 * Thomas Goffe
 * Arthur Golding
 * Robert Greene
 * Fulke Greville
 * Matthew Gwinne
 * William Haughton
 * Walter Hawkesworth
 * Mary Herbert
 * Thomas Heywood
 * Thomas Hughes
 * Thomas Ingelend
 * John Jeffere
 * Ben Jonson
 * Henry Killigrew
 * Thomas Killigrew
 * Thomas Kyd
 * Sir Henry Lee
 * Thomas Legge
 * Thomas Lodge
 * Thomas Lupton
 * John Lyly
 * Lewis Machin
 * Francis Marbury
 * Gervase Markham
 * Christopher Marlowe
 * Shackerley Marmion
 * John Marston
 * John Mason
 * Philip Massinger
 * Thomas May
 * Thomas Middleton
 * Anthony Munday
 * Thomas Nabbes
 * Thomas Nashe
 * Thomas Nelson
 * Thomas Norton
 * George Peele
 * William Percy
 * John Phillip
 * John Pickering (dramatist)
 * Henry Porter
 * Thomas Preston
 * Samuel Rowley
 * William Rowley
 * George Ruggle
 * Joseph Rutter
 * Thomas Sackville
 * William Sampson
 * William Shakespeare
 * Edward Sharpham
 * James Shirley
 * Sir Philip Sidney
 * Wentworth Smith
 * John Stephens
 * Sir John Suckling
 * Robert Tailor
 * Richard Tarlton
 * Thomas Tomkis
 * Cyril Tourneur
 * Francis Verney
 * William Wager
 * George Wapull
 * William Warner (poet)
 * John Webster
 * George Whetstone
 * George Wilkins
 * Robert Wilmot
 * Arthur Wilson
 * Robert Wilson
 * Nathaniel Woodes
 * Robert Yarington

Actors

 * William Alabaster
 * Edward Alleyn
 * Robert Armin
 * William Barksted
 * Richard Brome
 * Richard Burbage
 * William Cavendish
 * Henry Condell
 * Nathan Field
 * Alexander Gough
 * Thomas Greene
 * Richard Gunnell
 * Stephen Hammerton
 * Charles Hart
 * John Heminges
 * Thomas Heywood
 * John Honyman
 * Ben Jonson
 * Will Kempe
 * John Lowin
 * William Ostler
 * Andrew Pennycuicke
 * Augustine Phillips
 * Thomas Pollard
 * Thomas Pope
 * Timothy Read
 * Richard Robinson
 * Samuel Rowley
 * William Rowley
 * William Shakespeare
 * William Sly
 * Robert Wilson

Playhouses

 * Blackfriars Theatre
 * Cockpit Theatre
 * Cockpit-in-Court
 * Inn-yard theatres
 * Newington Butts Theatre
 * Red Bull Theatre
 * Red Lion (theatre)
 * Salisbury Court Theatre
 * The Curtain
 * The Fortune
 * The Globe
 * The Hope
 * The Phoenix
 * The Rose
 * The Swan
 * The Theatre
 * Whitefriars Theatre

Playing companies

 * King's Revels Children
 * King's Revels Men
 * Lady Elizabeth's Men
 * Leicester's Men
 * Lord Strange's Men (later Derby's Men)
 * Oxford's Boys
 * Oxford's Men
 * Pembroke's Men
 * Prince Charles's Men
 * Queen Anne's Men
 * Queen Elizabeth's Men
 * Queen Henrietta's Men
 * The Admiral's Men
 * The Children of Paul's
 * The Children of the Chapel (Queen's Revels)
 * The King's Men
 * The Lord Chamberlain's Men
 * Sussex's Men
 * Warwick's Men
 * Worcester's Men

Other significant figures

 * Susan Baskervile, investor and litigant
 * William Beeston, manager
 * George Buc, Master of the Revels 1609–1622
 * Cuthbert Burbage, entrepreneur
 * James Burbage, entrepreneur
 * Ralph Crane, scribe
 * Philip Henslowe, entrepreneur
 * Henry Herbert, Master of the Revels 1623–1673
 * Edward Knight, prompter
 * Francis Langley, entrepreneur
 * John Rhodes, manager
 * Edmund Tilney, Master of the Revels 1579–1609

title: English Renaissance theatre


text:
History of Angola

Angola was first settled by San hunter-gatherer societies before the northern domains came under the rule of Bantu states such as Kongo and Ndongo. In the 15th century, Portuguese colonists began trading, and a settlement was established at Luanda during the 16th century. Portugal annexed territories in the region which were ruled as a colony from 1655, and Angola was incorporated as an overseas province of Portugal in 1951. After the Angolan War of Independence, which ended in 1974 with an army mutiny and leftist coup in Lisbon, Angola achieved independence in 1975 through the Alvor Agreement. After independence, Angola entered a long period of civil war that lasted until 2002.

Prehistory
The area of present day Angola was inhabited during the paleolithic and neolithic eras, as attested by remains found in Luanda, Congo, and the Namibe desert. At the beginning of recorded history other cultures and people also arrived.

The first ones to settle were the San people. This changed at the beginning of the sixth century AD, when the Bantu, already in possession of metal-working technology, ceramics and agriculture began migrating from the north. When they reached what is now Angola they encountered the San and other groups. The establishment of the Bantu took many centuries and gave rise to a variety of groupings that took on different ethnic characteristics.

The first large political entity in the area, known to history as the Kingdom of Kongo, appeared in the thirteenth century and stretched from Gabon in the north to the river Kwanza in the south, and from the Atlantic in the west to the river Cuango in the east.

The wealth of the Kongo came mainly from agriculture. Power was in the hands of the Mani, aristocrats who occupied key positions in the kingdom and who answered only to the all-powerful King of the Kongo. Mbanza was the name given to a territorial unit administered and ruled by a Mani; Mbanza Congo, the capital, had a population of over fifty thousand in the sixteenth century.

The Kingdom of Kongo was divided into six provinces and included some dependent kingdoms, such as Ndongo to the south. Trade was the main activity, based on highly productive agriculture and increasing exploitation of mineral wealth. In 1482, Portuguese caravels commanded by Diogo Cão arrived in the Congo and he explored the extreme north-western coast of what today is Angola in 1484. Other expeditions followed, and close relations were soon established between the two states. The Portuguese brought firearms and many other technological advances, as well as a new religion (Christianity); in return, the King of the Congo offered plenty of slaves, ivory, and minerals.

Portuguese colony
The Portuguese colony of Angola was founded in 1575 with the arrival of Paulo Dias de Novais with a hundred Portuguese families and four hundred soldiers. Its center at Luanda was granted the status of city in 1605.

The King of the Kongo soon converted to Christianity and adopted a similar political structure to the Europeans. He became a well-known figure in Europe, to the point of receiving missives from the Pope. To the south of the Kingdom of the Kongo, around the river Kwanza, there were various important states. The most important of these was the Kingdom of Ndongo or Dongo, ruled by the ngolas. At the time of the arrival of the Portuguese, Ngola Kiluange was in power. By maintaining a policy of alliances with neighbouring states, he managed to hold out against the foreigners for several decades but was eventually beheaded in Luanda. Years later, the Ndongo rose to prominence again when Jinga Mbandi (Queen Jinga) took power. A wily politician, she kept the Portuguese in check with carefully prepared agreements. After undertaking various journeys she succeeded in 1635 in forming a grand coalition with the states of Matamba and Ndongo, Kongo, Kassanje, Dembos and Kissamas. At the head of this formidable alliance, she forced the Portuguese to retreat.

Meanwhile, Portugal had lost its King and the Spanish took control of the Portuguese monarchy. By this time, Portugal's overseas territories had taken second place. The Dutch took advantage of this situation and occupied Luanda in 1641. Jinga entered into an alliance with the Dutch, thereby strengthening her coalition and confining the Portuguese to Massangano, which they fortified strongly, sallying forth on occasion to capture slaves in the Kuata! Kuata! Wars. Slaves from Angola were essential to the development of the Portuguese colony of Brazil, but the traffic had been interrupted by these events. Portugal having regained its independence, a large force from Brazil under the command of Salvador Correia de Sá retook Luanda in 1648, leading to the return of the Portuguese in large numbers. Jinga's coalition then fell apart; the absence of their Dutch allies with their firearms and the strong position of Correia de Sá delivered a deadly blow to the morale of the native forces. Jinga died in 1663; 4.2 million davids later, the King of the Congo committed all his forces to an attempt to capture the island of Luanda, occupied by Correia de Sá, but they were defeated and lost their independence. The Kingdom of Ndongo submitted to the Portuguese Crown in 1671.

Trade was mostly with the Portuguese colony of Brazil; Brazilian ships were the most numerous in the ports of Luanda and Benguela. By this time, Angola, a Portuguese colony, was in fact like a colony of Brazil, paradoxically another Portuguese colony. A strong Brazilian influence was also exercised by the Jesuits in religion and education. War gradually gave way to the philosophy of trade. Slave-trading routes and the conquests that made them possible were the driving force for activities between the different areas; independent states slave markets were now focused on the demands of American slavery. In the high plains (the Planalto), the most important states were those of Bié and Bailundo, the latter being noted for its production of foodstuffs and rubber. The interior remained largely free of Portuguese control as late as the 19th century.

The slave trade was not abolished until 1836, and in 1844 Angola's ports were opened to foreign shipping with the Portuguese unable to enforce the laws, especially dependent on English naval security. This facilitated the continuation of slave smuggling to the United States and Brazil. By 1850, Luanda was one of the largest Portuguese cities in the Portuguese Empire outside Mainland Portugal exporting (together with Benguela) palm and peanut oil, wax, copal, timber, ivory, cotton, coffee, and cocoa, among many other products – almost all the produce of a continued forced labour system.

The Berlin Conference compelled Portugal to move towards the immediate occupation of all the territories it laid claim to but had been unable to effectively conquer. The territory of Cabinda (province), to the north of the river Zaire, was also ceded to Portugal on the legal basis of the Treaty of Simulambuko Protectorate, concluded between the Portuguese Crown and the princes of Cabinda in 1885. In the 19th century they slowly and hesitantly began to establish themselves in the interior. Angola as a Portuguese colony encompassing the present territory was not established before the end of the 19th century, and "effective occupation", as required by the Berlin Conference (1884) was achieved only by the 1920s.

Colonial economic strategy was based on agriculture and the export of raw materials. Trade in rubber and ivory, together with the taxes imposed on the population of the Empire (including the mainland), brought vast income to Lisbon.

Portuguese policy in Angola was modified by certain reforms introduced at the beginning of the twentieth century. The fall of the Portuguese monarchy and a favourable international climate led to reforms in administration, agriculture, and education. In 1951, with the advent of the New State regime (Estado Novo) extended to the colony, Angola became a province of Portugal (Ultramarine Province), called the Província Ultramarina de Angola (Overseas Province of Angola).

However, Portuguese rule remained characterized by deep-seated racism, mass forced labour, and an almost complete failure to modernize the country. By 1960, after 400 years of colonial rule, there was not a single university in the entire territory. To counter this lack of education facilities, overtly political organizations first appeared in the 1950s, and began to make organized demands for human and civil rights, initiating diplomatic campaigns throughout the world in their fight for independence. The Portuguese regime, meanwhile, refused to accede to the nationalists' demands for independence, thereby provoking the armed conflict that started in 1961 when guerrillas attacked colonial assets in cross-border operations in northeastern Angola. The war came to be known as the Colonial War.

In this struggle, the principal protagonists were the MPLA (Popular Movement for the Liberation of Angola), founded in 1956, the FNLA (National Front for the Liberation of Angola), which appeared in 1961, and UNITA (National Union for the Total Independence of Angola), founded in 1966. After many years of conflict, the nation gained its independence on 11 November 1975, after the 1974 coup d'état in Lisbon, Portugal. Portugal's new leaders began a process of democratic change at home and acceptance of the independence of its former colonies.

Civil war
A 1974 coup d'état in Portugal established a military government led by President António de Spínola. The Spínola government agreed to give all of Portugal's colonies independence, and handed power in Angola over to a coalition of the three largest nationalist movements, the MPLA, UNITA, and the FNLA, through the Alvor Agreement. The coalition quickly broke down, however, and the country descended into civil war. The MPLA gained control of the capital Luanda and much of the rest of the country. With the support of the United States, Zaïre and South Africa intervened militarily in favour of the FNLA and UNITA with the intention of taking Luanda before the declaration of independence. In response, Cuba intervened in favor of the MPLA. In the meantime the South Africans and UNITA had come as close as 200 km to the south of the capital, the FNLA and Zairian forces as far as Kifangondo, 30 km to the east.

With Cuban support, the MPLA held Luanda and declared independence as the Angolan People's Republic on 11 November 1975, the day the Portuguese left the country. Agostinho Neto became the first president. FNLA and UNITA proclaimed their own short-lived republics (the Angolan Democratic Republic and the Angolan Social Democratic Republic) on 24 November 1975, for the zones they controlled with Holden Roberto and Jonas Savimbi as co-presidents of the Angolan People's Democratic Republic in Huambo. This joint FNLA-UNITA government was dissolved on 11 February 1976 after a MPLA offensive. By the end of January 1976 the MPLA army (FAPLA) and the Cubans had all but crushed FNLA, Zairians and UNITA, and the South African forces withdrew.

On 27 May 1977, a coup attempt, including some former members of the MPLA government such as Nito Alves, led to retaliation by the government and Cuban forces, resulting in the execution of thousands, if not tens of thousands. Alves was tortured and killed. The movement is known as Fraccionismo. The proxy war continued. The MPLA government, recognized internationally (although not by the United States), requested that Cuban forces remain in the country. Led by Jonas Savimbi, UNITA received clandestine support from the U.S. and other nations and took up military resistance in the southeast of the country while the MPLA government was supported by the USSR and Eastern Bloc countries. South Africa continued to pursue South-West Africa People's Organisation (SWAPO) forces in Southern Angola, soon established bases and increased support of UNITA, which gained control of more and more territory. In an effort to deliver a final blow to UNITA and to drive South Africa out of the country, in 1987 the People's Armed Forces for the Liberation of Angola (FAPLA), with Soviet support, launched a campaign fraught with failures and defeats. Again, the Cubans intervened, stopping UNITA and South African advances, leading to the Battle of Cuito Cuanavale from 13 January to 23 March, the largest battle in African history since World War II.

The MPLA and the U.S. had been in negotiations for a peaceful solution since June 1987. The U.S. agreed to include Cuba in direct talks. Cuba joined the negotiations 28 January 1988; South Africa joined 9 March. Angola, Cuba and South Africa signed the Tripartite Accord on 22 December 1988, in which the withdrawal of Cuban troops from Angola was linked to the retreat of South African soldiers from Angola and Namibia.

The Bicesse Accord in 1991 spelled out an electoral process for a democratic Angola under the supervision of the United Nations. MPLA won the first round with 49% of the votes, against 40% for UNITA. UNITA leader Jonas Savimbi rejected the results and returned to war. From 30 October to 1 November 1992 the Halloween Massacre occurred in which thousands of UNITA and FNLA supporters in Luanda were killed by MPLA troops. Estimates for the death toll nationwide reach 25,000 to 30,000. A second peace accord, the Lusaka Protocol, was brokered in Lusaka, Zambia and signed on 20 November 1994.

The peace accord between the government and UNITA provided for the integration of former UNITA insurgents into the government and armed forces. However, in 1995, localized fighting resumed. A national unity government was installed in April 1997, but serious fighting resumed in late 1998 when Savimbi renewed the war for a second time, claiming that the MPLA was not fulfilling its obligations. The UN Security Council voted on 28 August 1997, to impose sanctions on UNITA. The Angolan military launched a massive offensive in 1999 that destroyed UNITA's conventional capacity and recaptured all major cities previously held by Savimbi's forces. Savimbi then declared that UNITA would return to guerrilla tactics, and much of the country remained in turmoil.

The extended civil war rendered hundreds of thousands of people homeless. Up to 1 million lives may have been lost in fighting over the past quarter century. It only ended when Savimbi was killed in 2002.

Post-independence
A Russian freighter delivered 500 tons of Ukrainian 7.62 mm ammunition to Simportex, a division of the Angolan government, with the help of a shipping agent in London on 21 September 2000. The ship's captain declared his cargo "fragile" to minimize inspection. The next day, the MPLA began attacking UNITA, winning victories in several battles from 22 to 25 September. The government gained control over military bases and diamond mines in Lunda Norte and Lunda Sul, hurting Savimbi's ability to pay his troops.

Angola agreed to trade oil to Slovakia in return for arms, buying six Sukhoi Su-17 attack aircraft on 3 April 2000. The Spanish government in the Canary Islands prevented a Ukrainian freighter from delivering 636 tons of military equipment to Angola on 24 February 2001. The captain of the ship had inaccurately reported his cargo, falsely claiming the ship carried automobile parts. The Angolan government admitted Simportex had purchased arms from Rosvooruzhenie, the Russian state-owned arms company, and acknowledged the captain might have violated Spanish law by misreporting his cargo, a common practice in arms smuggling to Angola.

Government troops captured and destroyed UNITA's Epongoloko base in Benguela province and Mufumbo base in Cuanza Sul in October 2001. The Slovak government sold fighter jets to the Angolan government in 2001 in violation of the European Union Code of Conduct on Arms Exports.

Government troops killed Savimbi on 22 February 2002, in Moxico province. UNITA Vice President António Dembo took over, but died from diabetes twelve days later on 3 March, and Secretary-General Paulo Lukamba Gato became UNITA's leader. After Savimbi's death, the government came to a crossroads over how to proceed. After initially indicating the counter-insurgency might continue, the government announced it would halt all military operations on 13 March. Military commanders for UNITA and the MPLA met in Cassamba and agreed to a cease-fire. However, Carlos Morgado, UNITA's spokesman in Portugal, said that the UNITA's Portugal wing had been under the impression General Kamorteiro, the UNITA general who agreed to the ceasefire, had been captured more than a week earlier. Morgado did say that he had not heard from Angola since Savimbi's death. The military commanders signed a Memorandum of Understanding as an addendum to the Lusaka Protocol in Luena on 4 April, Dos Santos and Lukamba Gato observing.

The United Nations Security Council passed Resolution 1404 on 18 April, extending the monitoring mechanism of sanctions by six months. Resolutions 1412 and 1432, passed on 17 May and 15 August respectively, suspended the UN travel ban on UNITA officials for 90 days each, finally abolishing the ban through Resolution 1439 on 18 October. UNAVEM III, extended an additional two months by Resolution 1439, ended on 19 December.

In August 2002, UNITA declared itself a political party and officially demobilised its armed forces. That same month, the United Nations Security Council replaced the United Nations Office in Angola with the United Nations Mission in Angola, a larger, non-military, political presence.

The civil war produced four million internally displaced persons (IDPs), one third of Angola's population. The government spent $187 million settling IDPs between 4 April 2002 and 2004, after which the World Bank gave $33 million to continue the settling process. Militant forces laid approximately 15 million landmines by 2002. The HALO Trust charity began demining in 1994, destroying 30,000 by July 2007. There are 1,100 Angolans and seven foreign workers who are working for HALO Trust in Angola, with operations expected to finish sometime between 2011 and 2014.

Human Rights Watch estimates UNITA and the government employed more than 86,000 and 3,000 child soldiers respectively, some forcibly impressed, during the war. Human rights analysts found 5,000 to 8,000 underage girls married to UNITA militants. Some girls were ordered to go and forage for food to provide for the troops. If the girls did not bring back enough food as judged by their commander, then the girls would not eat. After victories, UNITA commanders would be rewarded with women who were often then sexually abused. The government and UN agencies identified 190 child soldiers in the Angolan army and relocated seventy of them by November 2002, but the government continued to knowingly employ other underage soldiers.

Fernando Vendrell produced and Zézé Gamboa directed The Hero, a film about the life of average Angolans after the civil war, in 2004. The film follows the lives of three individuals; Vitório, a war veteran crippled by a landmine who returns to Luanda, Manu, a young boy searching for his soldier father, and Joana, a teacher who mentors the boy and begins a love affair with Vitório. The Hero won the 2005 Sundance World Dramatic Cinema Jury Grand Prize. A joint Angolan, Portuguese, and French production, Gamboa filmed The Hero entirely in Angola.

José Eduardo dos Santos stepped down as President of Angola after 38 years in 2017, being peacefully succeeded by João Lourenço, Santos' chosen successor. However, President João Lourenço started a campaign against corruption of the dos Santos era. In November 2017, Isabel dos Santos, the billionaire daughter of former President José Eduardo dos Santos, was fired from her position as head of the country's state oil company Sonangol. In August 2020, José Filomeno dos Santos, son of Angola's former president, was sentenced for five years in jail for fraud and corruption.

In July 2022, ex-president José Eduardo dos Santos died in Spain.

In August 2022, the ruling party, MPLA, won another outright majority and President Joao Lourenco won a second five-year term in the election. However, the election was the tightest in Angola's history.

title: History of Angola