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Theatre music

In 1687, he resumed his connection with the theatre by furnishing the music for John Dryden 's tragedy Tyrannick Love. In this year, Purcell also composed a march and passepied called Quick-step, which became so popular that Lord Wharton adapted the latter to the verses of Lillibullero. In or before January 1688, Purcell composed his anthem Blessed are they that fear the Lord by the express command of the King. A few months later, he wrote the music for D'Urfey's play, The Fool's Preferment. In 1690, he composed the music for Betterton 's adaptation of Fletcher and Massinger 's Prophetess (afterwards called Dioclesian) and Dryden's Amphitryon. In 1691, he wrote the music for what is sometimes considered his dramatic masterpiece, King Arthur, or The British Worthy. In 1692, he composed The Fairy-Queen (an adaptation of Shakespeare's A Midsummer Night's Dream), the score of which (his longest for theatre) was rediscovered in 1901 and published by the Purcell Society. The Indian Queen followed in 1695, in which year he also wrote songs for Dryden and Davenant's version of Shakespeare's The Tempest (recently, this has been disputed by music scholars), probably including "Full fathom five" and "Come unto these yellow sands". The Indian Queen was adapted from a tragedy by Dryden and Sir Robert Howard. In these semi-operas (another term for which at the time was "dramatic opera"), the main characters of the plays do not sing but speak their lines: the action moves in dialogue rather than recitative. The related songs are sung "for" them by singers, who have minor dramatic roles.