Purcell's weakness in accepting the prevailing taste for endless "graces" and divisions has already been adverted to. Another peculiarity which characterises his music may possibly be accounted for by the statement by Stafford Smith that "Mr. Purcell has been heard to declare more than once, that the _variety_ which the _minor_ key is capable of affording by the change of sounds in the ascending and descending scales, induced him so frequently to give it the preference."[56] Now-a-days few composers would select the _minor_ mode when composing music to the joyful words of the "Gloria Patri," or to the lines,-- "In these delightful pleasant groves Let us celebrate our happy loves." Yet Purcell did so with perfect success, as his music witnesses. Very little has been said in the progress of this biography of Purcell's anthems; they are easily obtainable in the fine edition published with so much enthusiasm by Vincent Novello, and in themselves form a most valuable material for study. It is to be hoped that before many years have passed away equal facilities will exist for gaining an intimate knowledge of his chamber and dramatic music. Purcell's seeming repugnance to the publication of his own music is remarkable. After his death his widow issued the following advertisement:-- "All the excellent compositions of Mr. Henry Purcell, both vocal and instrumental, that have been published, viz.:-- "_His First Book of Twelve Sonatas_, in four parts. "_His Ayrs and Sonatas_, newly printed in four parts. "_The Opera of Diocletian._ "_Te Deum and Jubilate in Score._ "_A Choice Collection of Lessons_, for the Harpsichord or Spinett, with instructions for beginners. "These six printed for Madam Purcell, and sold for her by Henry Playford." This list as already shown is not quite complete. Henry Purcell published an _Ode for Cecilia's Day_, in 1684, and the _Songs in the Fairy Queen_, in 1692. What a meagre selection from the catalogue of his known works, which numbered nearly 150 sacred compositions, and nearly 50 dramatic compilations, 28 odes, and a large number of other vocal and instrumental pieces which cannot be classed under either of the foregoing heads. * * * * * Professor Taylor has eloquently said--