do 
TRAVELS 
great inclination to be particular; nor do I apprehend that in¬ 
formation of this kind is very generally interefting. Theatrical 
entertainments, which among nations that have arrived at a high 
degree of civilization and refinement, are confidered as a great 
fource of pleafure, are not fo much fought after by the inhabi¬ 
tants of Sweden. Guftavus III. was the firft king who wifhed to 
excite a tafte for the theatre; in his reign, therefore, the Rage 
met with great encouragement, and rofe high in reputation. 
The opera at Stockholm was thought little inferior to that at 
Paris. Befides fome very good fingers, feveral excellent ballet- 
dancers were engaged ; but fince that king’s death it has greatly 
fallen off, and is now very little attended to. The Swedes have 
never at any period difcovered an original genius for mufic. All 
the operas hitherto performed in Sweden are either tranflations 
from French or Italian pieces, or the works of fome foreign maf- 
ter. As to mufical compofitions, not a fingle piece has been pro¬ 
duced fince the departure of Vogler, that comes up even to me¬ 
diocrity. If indeed the mere application of mechanical rules, 
without any knowledge of declamation or fenfibility of foul, were 
fufficient to conftitute a compofer in mufic, w r e might confer 
that appellation on Mr. Hofner, and with the fame juftice we 
might call Mr. Kaiftner a finger, if voice alone gave a claim to that 
appellation. Or, if it were poffible for any one to excel in vocal 
performance without voice, modulation, or method, we might 
rank Madame Mello, Mademoifelles Stading and Myaberg, Mr. 
Stenborg and others, in the number of virtuofi. The dramatic repre- 
fentation 
