V.iii.89 (476,8) An interlude!] This short exclamation of Gonerill is added in the folio edition, I suppose, only to break the speech of Albany, that the exhibition on the stage might be more distinct and intelligible. V.iii.129 (478,1) Behold, it is the privilege of mine honours,/My oath, and my profession] The _privilege_ of this _oath_ means the privilege gained by taking the oath administered in the regular initiation of a knight professed. V.iii.151 (479,3) _Alb._ Save him, save him! _Gon._ This is mere practice, Glo'ster] He desired that Edmund's life might be spared at present, only to obtain his confession, and to convict him openly by his own letter. V.iii.166 (480,6) Let us exchange charity] Our author by negligence gives his heathens the sentiments and practices of Christianity. In _Hamlet_ there is the same solemn act of final reconciliation, but with exact propriety, for the personages are Christians. V.iii. 204-221 (481,2) [Edg;.--This would have seem'd a period] The lines between crotchets are not in the folio. V.iii.229 (433,4) Here comes Kent, Sir] The manner in which Edgar here mentions Kent, seems to require the lines which are inserted from the first edition in the foregoing scene. V.iii.264 (485,7) _Edg._ Or image of that horror? _Alb._ Fall, and cease!] These two exclamations are given to Edgar and Albany in the folio, to animate the dialogue, and employ all the persons on the stage; but they are very obscure. V.iii.301 (487,4) With boot] With advantage, with increase. (488) General Observation. The tragedy of Lear is deservedly celebrated among the dramas of Shakespeare. There is perhaps no play which keeps the attention so strongly fixed; which so much agitates our passions and interests our curiosity. The artful involutions of distinct interests, the striking opposition of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination, that the mind, which once ventures within it, is hurried irresistibly along.