As we have no pretensions to that kind of _inspiration_--that critical second sight (as the Highland Scotch call it) but are fain to judge by the mere humdrum human means of reason and experience, we felt it to be our duty to see the character entirely performed by Mr. Dwyer before we ventured to form an opinion on his acting it; and we are free to confess that if all critics find it as difficult as we do to estimate the value of an actor's performance, and are honestly disposed, they will not only wait as we always do till the whole evidence is before them, but weigh it scrupulously, without affection, prejudice, or malice, before they venture to pass sentence. Now it so happened that we differed essentially from those _inspired_ ones. We thought, as most critics who have seen him in England do, that Mr. Dwyer's Belcour was a most elegant and accomplished specimen of genteel acting--chaste, graceful, and where the character required and admitted it, interesting and impressive. And we had the satisfaction to perceive as the play advanced the audience conformed more and more to the same opinion. It is greatly to Mr. Dwyer's credit that all the applause he received, was extorted by his own merit, and drawn like drops of blood reluctantly distilled from languid hearts. In Tangent a character in which broader humour afforded him an opportunity of coming nearer to the genteel taste. Mr. Dwyer met with a superior reception at first, and before the end of the play drew the most unequivocal acknowledgments of his supreme comic powers. In the character of Ranger, (Suspicious Husband) though he was wretchedly supported by the performers of every character, save Strictland and Tester, he was no less successful. In Vapid he was truly excellent and delivered the epilogue with a force and humour which merited and indeed received three successive rounds of applause after the curtain dropped. The English critics concur in pronouncing Mr. Dwyer's the best WILDING (Lyar) on the British boards. Nor will an enlightened critic, provided he be honest as well as enlightened, deny his great superiority in that part. Having seen Lewis, Palmer, I. Bannister, and several others, perform young Wilding, we have no hesitation to declare that in many parts of the character, but particularly in his account of the feigned marriage with Miss Lydia Sibthorpe, and the adventure of the closet and the cat, he was superior to any actor but the great original and the author of the piece, SAM FOOTE. Of his Rapid we are unable to say any thing, having been detained from the theatre by business to a late hour. His Sir Charles Racket, which followed it, was, like Belcour, an elegant specimen of high genteel comedy. Something went wrong however towards the conclusion of the piece which occasioned it to end rather abruptly.