say, in round numbers, the ear receives a musical impression from any sound which arises from a number of vibrations between 30 and 2000; and we may certainly say that, in every orchestra, the hearers are employed in distinguishing and discriminating between various rates of succession in the undulations of the air around them from 60 to 2000 per second.

We have previously alluded to a phenomenon of sound, or rather of combined sounds, called a beat. If two notes whose vibrations are either nearly in the same ratio, or nearly in one of the simple ratios above-mentioned, be sounded together, the effect of their being out of tune is a tremulous motion of the sound, the pulsations or beats of which can be counted if the notes be not too high. For example, suppose two simultaneous notes whose vibrations are 100 and 104 per second. Here 25 vibrations of the first are made during 26 of the second; and the reader who has studied the preceding part of this article will see that the resulting wave is as long as twenty-six of the second waves; but that if the waves from the two be much alike in their types, this resulting wave will consist of a cycle of rarefactions and condensations very much resembling the separate waves. The whole resulting wave being twenty-six times as long as the second wave, will run through all its changes four times in a second, which is not sufficient to give a musical sound, but will only add to the sound of one of the waves the periodical tremulous sensation which is called a beat, which may be imitated by ringing the syllables who, ah, in rapid succession on the same note of the voice. If, however, these beats recur at sufficiently short intervals to produce on the ear the impression of a continuous sound, a new note, called the grave harmonic, is heard, lower than either separately. For information as to the use made of these beats, see the article TEMPERAMENT.

It only remains to consider the different character of sounds. The same note, as to pitch or tone, may be sounded by a horn and a flute; nevertheless, each instrument has a character of its own, which enables every one to distinguish between the two. It is not to the different loudness of the two, for either, by skilful players, may be made to give the weaker sound; neither does it depend on the number of vibrations, for that, as we have seen, determines only the pitch of the note: the only difference between one wave and another of the same length, is in the form of its type; that is, in the different manner in which the air is condensed and rarefied. There is also only this feature left, to account for the difference between the tones which different players will draw out of the same instrument; since both Paganini and an itinerant street musician would make the same string vibrate the same number of times in a second. Dr. Young examined the string of a violin when in motion, and by throwing a beam of light upon it and marking the motion of the bright spot which it made, he found that the string rarely vibrated in the same plane, but that the middle point would describe various and very complicated curves, corresponding to different manners of drawing the bow. (Lectures on Natural Philosophy,' vol. ii. plate 5.) Professor Wheatstone has examined these curves by the motion of a small bright bead on the end of a vibrating rod, fixed vertically in a stand, and named by him a Kaleidophone, and has calculated a large number of them on the principle of the super-position of small motions, a principle which is the foundation of all the science of vibratory motion, and may be thus enunciated:-If the particles of any body are acted on by several small forces, they will obey each, as if it acted by itself; and the motion of any particles in any direction is the algebraic sum of the motion which would result from the disturbing forces acting separately.

We give three specimens of Young's figures, merely to show how much the vibration produced by one player may differ that of another. The waves proceeding from all three will be of the same length, the vibrations being performed in the same time; but the condensations and rarefactions will evidently be such as to give very different relative states to contiguous particles of air. The middle of the stretched wire Fig. 15.

musicians would observe, in the same manner, the curves which they produce, and describe the different qualities of tone arising from them. As yet, we have no direct experiments which tend to connect any particular form of vibration with any particular quality of sound. We shall enter upon the best method of doing this in the article CHORD.

Some confusion arises in books on this subject, from the use which different authors make of the words vibration and wave. Some mean, by a vibration, a motion to and fro, while others call the same motion two vibrations; and by a wave, the complete succession of condensations and rarefactions, which others call two waves, one of condensation, the other of rarefaction. For further information, we refer the reader to Sir J. Herschel's article, already cited, to Robison's Mechanical Philosophy,' Biot's 'Précis Elémentaire de Physique,' and Pouillet's 'Traité de Physique.'

ACQUITTAL from the French acquitter, to free or discharge, signifies a deliverance or setting free of a person from a charge of guilt. One who, upon his trial for a criminal offence, is discharged by the jury, is said to be acquitted. The acquittal by the jury has, however, no force in law until judgment has been given upon the verdict by the court. After this judgment, if the party be indicted a second time for the same offence, he may plead his former acquittal in bar, as a complete answer to the second charge, by what is called a plea of autrefois acquit. Upon this plea being admitted or proved, the person indicted will be entitled to be discharged, as the law will not permit a man to be twice put in danger of punishment for the same offence. ACQUITTANCE is a discharge in writing of a debt, or sum of money due. A general receipt or acquittance in full of all demands will discharge all debts, except such as are secured by what are termed specialties, viz. bonds and instruments under seal, which are considered by the law as of too great force to be discharged by a verbal concord and agreement, or any less formal and solemn acquittance than a deed. Where an acknowledgment of satisfaction is by deed, it may operate as a good answer to an action on the debt, even though nothing has ever been actually received.

Courts of equity, and even courts of law in some cases, will order accounts to be gone into anew, notwithstanding the production of a general acquittance or receipt in full of all demands, upon proof that such acquittance was obtained by fraud or given under a mistake, and that the debt or other demand has not been in fact satisfied.

ACRE, a measure of land, of different value in the different parts of the United Kingdom. When mentioned generally, the statute or English acre is to be understood. Its magnitude may be best referred to that of the square yard by recollecting that a square whose side is 22 yards long is the tenth part of an acre; whence the latter contains 22 x 22 x 10, or 4840 square yards. The chain with which land is measured is 22 yards long; so that ten square chains are one acre. This measure is divided into 4 roods, each rood into 40 perches, so that each perch contains 304 square yards. Thus :

The Irish acre is larger than the English, inasmuch as 100 Irish acres are very nearly equivalent to 162 English acres. More correctly, 121 Irish acres are 196 English acres; but the former ratio points out an easier arithmetical operation, and will not be wrong by so much as one acre out of 5000.

The Scottish acre is also larger than the English, 48 Scottish acres being equal to 61 English acres. There are also local acres in various parts of England, such as the Cheshire acre of 8 yards to the pole. The English statute acre is used in the United States of North America. The French Are is a square whose side is 10 metres, and 1000 English acres are equivalent to 40,466 ares.

ACROLEINE (C,H,O,), a substance obtained by the dehydration of glycerine (C,H,O= CH ̧O, + 4HO), and oy the oxidation of allylic alcohol (CHO,+O, CH,O,+2HO). It was obtained by Redtenbacher by the distillation of glycerine with phosphoric acid. The operation must be carried on in vessels charged with carbonic acid gas, as acroleine is rapidly oxidised in atmospheric air. It may be regarded as the hydride of a radical called acryl. This substance resembles acetyl, or othyl, and represents in acroleine the position of acetyl in acetic aldehyde. Thus, H,C,H,O, is the atomic constitution of acroleine, which when oxidised in the atmosphere becomes converted into Acrylic acid, HO, CH,O,, a substance perfectly analogous to acetic acid. Acroleine is often formed as a result of the distillation of oils and fats. Thus, castor-oil yields acroleine and some other peculiar products on distillation.

Acroleine is a limpid colourless liquid. Its vapours are intolerably pungent and suffocating (whence its name), attacking the eyes and respiratory organs most violently; a very minute quantity will produce this effect. The unpleasant, pungent smell of a blown-out candle when the wick is left in a state of ignition is due to a trace of this substance. Its sp. g. is less than that of water; it boils at 125°, and is soluble in 40 parts of water. Even in sealed vessels it cannot be long preserved, becoming converted either into a white, flocculent, inodorous powder

The word Acta has been used in an analogous way in other instances in modern times. The Acta Sanctorum' denote generally all the old stories of the martyrs of the Church; and, specially, that large work begun in 1643 by the Jesuit Bolland, and continued by his successors to 1794, in 53 folio volumes, which contain such accounts. The Acta Eruditorum Lipsiensia' was the title of the first learned and critical review that was published in Germany, after the model of the French 'Journal des Savans,' and the Roman Giornale de' Litterati.' It was established in 1680, by Otto Mencken, a professor of Leipzig, and written in Latin. It was published monthly, and was continued for a century. Other journals of a like kind also adopted the name of Acta. The name of Transactions' is now given in England to the Acts of most learned and scientific bodies: the Acts of the Courts of Justice, so far as they are made public, are called 'Reports,' the Acta forensia' of the Romans, D. 26. 8. 21, while the proceedings of the courts as registered are called 'Records.'

(Rotteck and Welcker, Staats-Lexicon, art. by W.)

ACT (in the Drama), that portion of a play which is separated from the rest by an interval, during which the stage is left empty, and the action is supposed to proceed unseen by the spectators. In the Greek drama there were no acts; although in some modern editions, such as Burton's 'Pentalogia,' we find Greek plays thus divided. The language does not possess a word answering to the Latin and English Act.' Among the Greeks the stage was never left empty from the beginning to the end of the performance. When the other actors retired, those forming the chorus still remained, and continued the business of the play by their songs. For these songs, it is important to observe, were in general essential parts of the drama; they were not of the nature of a piece of music, or a dance, or any other extrinsic representation, thrown in merely to fill up a chasm in the action; they carried forward the action in the same manner as the ordinary dialogue did. For an exact copy of the form of a Greek drama in this respect, the English reader may be referred to the 'Sampson Agonistes' of Milton. In that play there is no division into acts; nor is there any such division in Buchanan's two Latin tragedies, entitled, 'Jephthes' and 'Baptistes,' which are also professedly composed upon the Greek model. The latter poet, we may add, has followed the same plan in his translations of the Medea' and the Alcestis' of Euripides. From this constitution of the Greek drama, it naturally followed, that the real duration of the action of any play could not well be supposed greatly to exceed that of its theatrical representation. In other words, what has been called the Unity of Time became a principle almost invariably observed in every dramatic composition. On the Roman stage there was no chorus, and the play was divided into acts, as on our own. But, although Plautus has frequently in his comedies supposed a considerable portion of time to pass between the close of one act and the opening of another, the most famous of the Latin dramatists, Terence, has not availed himself of this liberty, but has adhered closely to the practice of his Grecian models, in not permitting the interval between the acts to form more than a very short interruption of the progress of the story. By modern dramatists, however, the practice of dividing a play into acts has generally been taken advantatage of to extend the time of the story greatly beyond the space to which it was necessary to confine it on the Greek stage. Each act, in fact, is now what the Greeks would have called a separate drama, except that it does not contain a complete plot; and the whole play may be compared to those Trilogies of the Greeks, in which three dramas, representing so many successive separate parts of the same history, followed one another in one theatrical exhibition. Perhaps it was this consideration which made the Romans call each of the separate portions in question an Act or Actus; for that word is exactly a translation of the Greek Spaua, which was used to designate an entire play. The term, therefore, may be taken as, in its original and proper sense, denoting a distinct and, to a certain extent, independent theatrical action or picture, although capable also of being introduced as one of a series of such pictures, united by some common subject. And this is precisely what Shakspere must be understood to when, in the famous speech which he puts into the mouth of Jaques, in 'As you like it,' comparing the world to a stage, he goes on say, "One man in his time plays many parts, his acts being seven ages." The infant, the school-boy, &c., are acts only in the sense of being so many separate pictures or exhibitions of human life, each complete in itself, although following each other according to a natural order of succession, like the acts of a play. Viewed in this light, it will be perceived that the division into acts is really that distinction of the modern drama which, more than anything else, gives to it its peculiar character. Dr. Johnson has observed that, in modern plays, "The time required by the fable elapses, for the most part, between the acts; for of so much of the action as is represented, the real and poetical duration is the same. The drama exhibits successive imitations of successive actions; and why may not the second imitation represent an action that happened years after the first, if it be so connected with it, that nothing but time can be supposed to intervene. Time is, of all modes of existence, most obsequious to the imagination; a lapse of years is as easily conceived as a lapse of hours." In the rude exhibitions of the English stage before Shakspere, the violation of the classical unities was startling to educated minds. Thus Sidney, in his 'Defence of Poesy,'-"Where the stage should always represent but one place, and the uttermost time presupposed in it should be, both by

mean,

to

Aristotle's precept and common reason, but one day, there is both many days and many places inartificially imagined."

We may here remark, that although the French dramatic writers have adhered to the principle of leaving the stage empty only at the end of an act, many of the English have followed a different practice. In Shakspere particularly, every successive scene uniformly presents a new set of characters, and most commonly a change of place also. He rarely interrupts the action, however, for any considerable space, except during the interval between two acts; but here he does not hesitate to pass over any length of time he may find convenient. In the Winter's Tale,' Perdita, who was a new-born infant at the end of the third act, is grown up a young woman at the beginning of the fourth. In this instance, indeed, the dramatist introduces Time to explain and apologise for the license he had taken to

"Slide

O'er sixteen years, and leave the growth untried Of that wide gap."

as Chorus;' and in the beginning of Time is here said to appear Henry V., Chorus is also brought forward to request the audience to allow their thoughts in the course of the representation to pass from one place to another : -"Jumping o'er times; Turning the accomplishment of many years Into an hour-glass."

Neither of these personages, however, performs exactly the office of the ancient Chorus.

We may add, that the old English Mysteries and Moralities, the first produce of our national dramatic genius, were long destitute of any division either into scenes or acts. The earliest of the Moralities which assume the regular dramatic shape, are not more ancient than the beginning of the reign of Elizabeth. Moralities continued to be both printed and acted long after this date. The Chester Mysteries' were performed in the year 1574. Down to this time there is every reason to believe that the scene never was changed from the beginning to the end of any stage-spectacle.

As for the Moralities, they were acted even in the reign of James I., and they are enumerated under the name of 'Morals' in the license granted to the company of which Shakspere was a member in 1603. But even several of our early tragedies and comedies, down to an era subsequent to this, were without any division into either scenes or acts. There is no such division in Preston's Cambises,' the play to which Shakspere is supposed to allude in 'Henry V.,' and which the author entitles 'A lamentable Tragedy mixed full of pleasant Mirth,' printed in 1561; nor in Peele's 'David and Bethsabe,' which appeared in 1579. In the tragedy of 'Soliman and Perseda,' 1599 (supposed to be by Kyd), there are acts, but not scenes; but there are neither one nor other in Dekker's 'Satiromastix, or the Trussing of the Humorous Poet,' nor in the comedy of the 'Wily Beguiled,' both of which appeared after the commencement of the 17th century, the latter so late as 1623.

Much discussion has taken place among the critics, on the reasons of the rule which restricts a regular dramatic composition to the extent of neither more nor less than five acts; and which Horace, in his 'Art of Poetry,' has laid down in a peremptory and well-known verse. Upon this subject the French writer, Marmontel, has delivered a very sensible judgment, the substance of which is, that the rule neither stands upon such a foundation as to constitute it an essential law, nor is it so unreasonable as to deserve to be banished from the theatre. The action must have its just extent given to it, and no more. The law of nature must be followed, which is superior to that of art. ACT, in the universities, an exercise to be performed by students before they are admitted to their degrees. In the University of Oxford it has almost fallen into disuse, and in Dublin is a mere form; but at Cambridge it is still preserved as a preliminary test of the comparative merits of the candidates for the degree of Bachelor of Arts, who aspire to University honours. It is also performed by candidates for the degrees in law, physic, or divinity. The student proposes certain questions connected with his subject to the presiding officer of the schools (the place in which acts are kept), who thereupon nominates other students to oppose them. The discussion is carried on syllogistically and in Latin, and terminates by the presiding officer questioning the respondent or the person who is said to "keep the act," and his opponents, and dismissing them with a short compliment to each, in proportion to his deserts.

ACTA DIURNA (proceedings of the day) was the title of a gazette, to use the nearest modern term, drawn up and published daily at Rome, both under the republic and the empire. It appears to have contained an abstract of the proceedings of the public assemblies, of the law courts, of the punishment of offenders, an account of any public buildings or other works in progress, together with a list of births, deaths, marriages, and divorces, &c. In the very earliest times of Rome, provision was made under a religious sanction for the due registration of birth, assumption of the toga virilis (or dress of manhood), and death, accompanied by the payment of a certain fee into the respective treasuries of the goddesses Juno, Lucina, Juventas, and Venus Libitina. From the registers thus formed such extracts as were important might be made for publication. The law courts would furnish authority for the statement of divorces; and in this article of

news there was no deficiency. Not a gazette appears, says Seneca, without its divorce, so that our matrons, from constantly hearing of them, soon learn to follow the example. The due supply of information on political and judicial affairs was to be obtained, as now, by reporters (actuarü). In the celebrated debate of the Roman Senate, upon the punishment of those who had been concerned in the Catilinarian Conspiracy, we find the first mention of short-hand writers, who were specially employed by Cicero to take down the speech of his friend Cato; and it is interesting to observe that this was the only speech of that extraordinary man which still existed in the age of Plutarch. But it must not be inferred, from this fact, that these reporters or any other persons were at liberty to publish an account of any proceedings in the senate. Until the first consulship of Julius Cæsar the senate was a close court. This great man, by a ludicrously distorted view of Roman history, has been generally represented as the destroyer of his country's liberties; yet he no sooner entered upon his office than he made provision for giving the same publicity to all the proceedings of the senate which already existed for the more popular assemblies; and this single act was perhaps the most fatal blow which Cæsar gave to the aristocratic interest. (Suetonius, Life of Julius Cæsar,' c. 20.) Under the despotism of Augustus such an institution was inconvenient, and therefore repealed. The Acta of the senate, though, of course, still registered, were no longer published; and, as all the popular assemblies were now deprived of real authority, the Acta Diurna' henceforward can have had little 'political interest. What disgraceful news they sometimes recorded, Suetonius tells us, in his 'Life of Caligula,' c. 36. Even in its best days this state-gazette was no doubt, an extremely meagre document,-conducted as it was on government authority, without the advantages of competition, and what is still more important, without the possibility of extensive circulation; for what could a newspaper have been before the art of printing was discovered? Yet, with all these disadvantages, the 'Acta Diurna' were often consulted and appealed to by the historians of after times, as documents of the highest authority, whilst in the Imperial times they were placed on an equality with the Fasti. "Sic enim in fastos Actaque publica relatum est," says Suetonius (Nero, 5). (For a more minute account, see Lipsius in his Excursus on the Annals of Tacitus. Lib. v. c. 4.) ACTINO'METER (from aktív, a sunbeam; and μerpov, a measure) is an instrument employed for the purpose of ascertaining the intensity of the heat of the direct rays of the sun. It consists of a hollow cylinder of glass, united at one end to a thermometer-tube, the latter being terminated at the upper extremity by a ball which is drawn to a point and broken off so as to leave a very small orifice, which is closed with wax: to this tube is applied a scale of equal parts. The other end of the cylinder is closed by a metal cap furnished with a silver screw, which turns tightly in a collar of leathers; the cylinder is filled with ammonia-sulphate of copper (a deep blue fluid), and the actual temperature of this fluid (on which its dilatability depends) is ascertained by an interior thermometer. The cylindrical portion, which acts as a bulb to the graduated stem, is inclosed in a box which is blackened within on three sides. The box has a thick glass in front, and the use of the screw is to diminish or increase the capacity of the cylinder. The instrument was invented by Sir John Herschel, who described it in the Edinburgh Journal of Science' for 1825. His objection to the indications of the thermometer as a means for indicating the heating power of the solar rays, is, that the various radiating effects of surrounding objects greatly interfere with the success of such observations, and that time ought to be considered as an element in the observations.

In making the observations with the actinometer, the instrument is disposed so that the sun may shine on its glass face, when the liquid will mount rapidly in the thermometer-tube. At the end of three or four minutes the extremity of the liquid is brought to the zero of the scale by turning the screw; after which, at the end of one minute, two minutes, and three minutes respectively, the observer registers the number of the graduation corresponding to the top of the column of fluid as it continues to rise. The instrument being then covered with a screen, three observations are made as before, at intervals of one minute, as the liquid descends in the tube. The instrument is again placed so that the sun may shine upon it, and afterwards in the shade, when two other sets of observations are made, and so on.

A mean of the two differences between the readings at two nearest observations while the sun was shining on the instrument, added to the difference between the readings at the intermediate observations while the instrument was in the shade, is taken as a measure of the intensity of the sun's radiation at the middle time between the first and third observations; and a mean of such results for all the triplets of observations is considered as the general mean.

The length of a degree on the thermometric scale is at present arbitrary, and the relative values of the degrees on the scales of different instruments are determined by comparing together the indications made in like circumstances. Sir J. Herschel proposed to establish, as a unit for the intensity of solar heat, that value which would, in one minute of time, dissolve a thickness equal to one millionth part of a mètre of a horizontal sheet of ice when the sun's light falls vertically upon it. This he calls an actine; and, from experiments made by him at the Cape of Good Hope, he determined the value of a

degree on the scale of one of his actinometers to be equivalent to 6·093 actines. The actinometer is useful in determining the quantity of solar heat which is absorbed in passing through different strata of the atmosphere, for which purpose the observations must be made at stations differently elevated above the general level of the earth or sea. It may also be employed to determine the diminution of heat which takes place during eclipses of the sun.

The reader interested in the subject, will find full details respecting this instrument in the Manual of Scientific Enquiry," published by the Board of Admiralty. ACTION is a Roman term (actio), and signifies the legal process by which a man claims possession of some specific thing to which he has a right, or requires another to do something which he has agreed to do, or to make pecuniary compensation for neglecting to do it; or by which he claims pecuniary satisfaction for the illegal act of another to his person or property. It is necessary here to notice briefly that celebrated division of Roman Actions, viz., those in rem (vindicationes), and those in personam, generally termed condictiones, though this word is strictly applicable to such actions as arose from unilateral transactions, and were brought for the recovery of property. The Roman Actio in Rem was the action in which a man claimed a thing from another as his property, or some use of a thing; and the action might be against any person who disputed his right. To this class belonged all those actions which by their nature could, as a general rule, be instituted by a person merely by virtue of some right vested in him against any one who disputed or obstructed such right, and for the purpose of compelling him to respect it. On the other hand, the Roman Actio in Personam was against some determinate person, who made himself liable to the action by not performing his contract, or by doing some illegal act to another man's person or his property, (Gaius iv. 1; 'Instit.' iv. tit. 6); and all these personal actions presupposed circumstances giving rise to some special duty in the defendant. The distinction between the two, however, is more clearly shown in the mode in which the demandant asserted his right, for in the actio in rem he stated it in general terms, without the name of any defendant being given (e. g., "Si paret, fundum ex-jure Quiritium Titii esse"). In the actio in personam the defendant was individually pointed out ("Si paret Numerium Negidium... dare oportere"). What were called interdicts in the Roman law, may also be referred to the class of actions in personam; but the term interdictum, when considered in opposition to actio, denoted a kind of action in which the procedure might be more quick and summary than the actio. The right of action is nothing more than the right actively to exercise, with the aid of a judge, that power of compelling the performance of, or forbearance from, some positive act with which every right is accompanied, as expressed in the maxim, "Ubi Jus ibi remedium," and in the Roman definition of action,'" Nihil aliud quam jus persequendi in judicio quod sibi debetur" (J. 4, 6 pr.)

The English division of actions bears some analogy to the Roman division, but it is much less clearly conceived.

ACTION AT LAW is the proceeding for recovery, through the intervention of the law, of that which is legally due: it has been defined to be "a lawful demand of one's right;" or "the right of a man to prosecute by judicial proceeding that which is his due." The general object of every action is thus to put one party in possession of a right of which he has been injuriously deprived by another. This may be effected, where lands or goods are wrongfully withheld, by the actual delivery of them to the proprietor. In the case of assaults, slander, breaches of contract, or other personal wrongs, the only remedy is to award to the sufferer pecuniary compensation for the injury. For one and all of these purposes the law of England appoints specific forms, by which alone can be obtained those legal remedies, which the law affords the injured party in the infinite variety of disputes and controversies that arise between individuals. Where the wrong is of such a nature that there is detriment to the public as well as injury to the individual, it becomes the subject of a criminal prosecution. For those wrongs in general done by one individual to another, which do not amount to legal crimes, the proper remedy is by action at law. It is true, that in some cases the legal remedy is insufficient, and that the injured party, to obtain proper redress must resort to a suit in Chancery. But the circumstances in which these courts (which administer that branch of our law called equity) must be applied to will be more appropriately considered under another head. [EQUITY.]

Actions in England are usually divided into three kinds, according to the subjects of them; namely, real, personal, and mixed.

Real Actions are so called because they exclusively refer to real property, or subjects connected with land. The word real here signifies that the action is in respect of a thing (res). In the Roman jurisprudence the expression in rem did not mean that the action was in respect of a thing (res), but it was a technical mode of expressing the generality of the action, as opposed to in personam, which had reference to a particular person or persons. Real actions, then, are brought for the recovery of lands, advowsons, or other hereditaments. They were, in the earlier periods of our history, of constant occurrence; and our ancient books of reports are principally occupied with cases of pleas of land, which, before this country had attained to commercial import ance, was the most valuable species of property, and, consequently, the