AC'ROTE'RION ("extremity"), in archi tecture, an ornament — statue, palmette, or leaf-decoration — placed on the apex of a pedi ment or one of its lower angles.
ACT. In the drama, one of the parts into which a play is divided, to mark change of time or place, to give a respite to the actors and audience from the strain and physical fatigue of sitting intent on a long play, and to enable actors to change costumes and managers to change scenery. In Greek plays, where there was no scenery and no change of costume, there were no separate acts,— the episodes separated by the lyrical portions being not such either in design or effect,— and the action was continuous from beginning to end and the unities strictly observed. If the principal actors left the stage, the chorus took up the argument and con tributed an integral part of the play; chiefly in the form of comment on the action, but often by supplying necessary information impossible to give in the regular speeches. When it was desired to develop the story further than the single play could conveniently do, another drama,— etymologically the same as act,— car ried it on to another time or place, forming the common Greek trilogies, or groups of three,_ in which the same characters reappear. The Roman theatre first adopted the division into acts, suspending all stage business in the in tervals. They made the regular number five, and Horace sets this down as a fixed rule of art. On the revival of letters it was almost univer sally used by dramatists; and that it rests on something more than caprice is shown by the fact that Shakespeare, who cared nothing for fixed rules of art and utterly disregarded the unities, never varies this division. For a great drama there is a real reason, though in light comedy it is admost universally dropped at present. The natural division is into three,— introduction, climax and conclusion; and the central act still fulfils the same function. But for a great action this is apt to hurry matters too fast for a proper development either of character or interest ; hence the first and the last act are doubled, the approach to the main point and the preparation for the catastrophe being both rendered more gradual. Some critics have
laid down exact rules as to the part each act is to sustain in a play ; but these cannot be justified and have never been regarded. It is obvious, however, that each act should form a certain unity, ending with a point of deep but suspended interest, yet should be an integral part of the whole. Moliere began lie three act comedy ; but even to an impatient genera tion this is too short for a play of power, and four is most preferred. See DRAMA.
In law.—(1) Anything officially done by the court, as the phrases °Acts of Court, 'Acts of Sederunt," etc. (2) In bankruptcy, an act the commission of which by a debtor renders him liable to be adjudged a bankrupt. (3) In civil law, a writing which states in a legal form that a thing has been said, done or agreed. (4) In evidence, the act of one con spirator performed in pursuance of the common design may beven in evidence against his co conspirators. (5) Acts done, distinguished into acts of God (q. v.), of the law and of men.
In mental philosophy, an operation of the mind supposed to require the putting forth of energy, as distinguished from a state of mind in which the faculties remain passive. In this sense such expressions as the following are used: The act of thinking, the act of judging, the act of resolving, the act of reasoning or of reason; each of these being viewed as a single operation of the human mind.
In parliamentary language, an ellipsis for a law enacted by a congress, legislature, parlia ment, etc. A statute, law or edict, consisting of a bill which has been successfully carried through both Houses of Congress or legislature, and received the approval of the executive. See specific title infra, ACT OF GOD; ACT or SETTLE