Whatever may have been the end of this dispute, it probably was speedily concluded, for we find by the Abbey registers of the 6th September following, that Purcell had an infant son baptized in the Abbey, who received the name of Edward; this child survived his parents and became an organist of some note.
On the 5th of August, 1689, a new ode by Purcell, called "A Welcome Song at the Prince of Denmark's Coming Home," and commencing, "Celestial music," was performed at Mr. Maidwell's, a schoolmaster. In commemoration of the accession of William and Mary, Tom D'Urfey prepared an ode abounding in praise of "The Great Nassau." This Purcell set to music, and it was subsequently performed at a cost of £100 in the "Merchant Taylors' Hall," at the gathering of the natives of the County of York at their feast, March 27th, 1690; from which circumstance the ode is known as "The Yorkshire Feast Song." The music became extremely popular; portions of it were printed in the Orpheus Britannicus, and other collections, and the entire work was printed by Goodison in 1788 or 1789, but in a very incorrect fashion. It has lately been published in a very satisfactory manner by the new "Purcell Society."
In the year 1690 Purcell must have worked assiduously for the theatres; we can trace to this period the production of The Tempest, an alteration from Shakespeare by Shadwell; The Prophetess, or Dioclesian, an adaptation from Beaumont and Fletcher by Betterton; the Massacre of Paris, by Lee; and Amphitryon, by Dryden.
The music of The Tempest is extremely beautiful, witness "Come unto these Yellow Sands" and "Full Fathom Five," which are known and admired and in vogue to this day. These pieces being allied to Shakespeare's lines are not likely to be superseded by other composers' music, but unfortunately the major part of Purcell's work in The Tempest is married to verse not Shakespeare's, and cannot therefore find any fitting place in a performance of the play.
Dioclesian, at first called The Prophetess, was advertised for publication in the London Gazette, July 3rd, 1690:—
"The vocal and instrumental musick in the opera called The Prophetess, composed by Mr. Henry Purcell, is designed to be printed by way of subscriptions. Proposals may be seen at Mr. John Carr's shop at the Middle Temple Gate, and at Mr. Henry Playford's shop near the Inner Temple Church, who are appointed to take subscriptions."
It was published the following year with the title, "The Vocal and Instrumental Musick of the Prophetess, or the History of Dioclesian, composed by Henry Purcell, Organist of their Majesties' Chappel, and of St. Peter's, Westminster. London, Printed by J. Heptinstall, for the Author, and are to be sold by John Carr, at his shop at the Middle Temple Gate near Temple-Barr. M.DCXCI."
The libretto was made into a so-called opera. Purcell dedicated the work to the Duke of Somerset, and, as was the manner of the times, introduced his published score of the music with a flowery preface; it contains many interesting passages and reads as follows:—
"Your Grace has been pleas'd so particularly to favour the Composition of the Musick in Dioclesian, that from thence I have been encourag'd to this presumption of Dedicating not only It, but also the unworthy Author of it to your Protection. All Arts and Sciences have receiv'd their first encouragement from Great Persons, and owe their Propagation and Success to their esteem: like some sort of Fruit-trees, which being of a tender Constitution, and delicate in their Nature, require the shadow of the Cedar to shield their Infancy from Blites and Storms.
"Music and Poetry have ever been acknowledged Sisters, which walking hand in hand supports each other; As Poetry is the harmony of Words, So Musick is that of Notes: and as Poetry is a Rise above Prose and Oratory, so is Musick the exaltation of Poetry. Both of them may excel apart, but sure they are most excellent when they are joyn'd because nothing is then wanting to either of their Perfections: for thus they appear like Wit and Beauty in the same Person. Poetry and Painting have arriv'd to their perfection in our own Country: Musick is yet but in its Nonage, a forward Child which gives hope of what it may be hereafter in England, when the Masters of it shall find more Encouragement. 'Tis now learning Italian, which is its best Master, and studying a little of the French Air, to give it somewhat more of Gayety and Fashion. Thus being farther from the Sun, we are of later Growth than our Neighbour Countries, and must be content to shake off our Barbarity by degrees. The present Age seems already dispos'd to be refin'd, and to distinguish betwixt wild Fancy, and a just, numerous Composition. So far the Genius of your Grace has already prevail'd on Us. Many of the Nobility and Gentry have followed your Illustrious Example in the Patronage of Musick. Nay, even our Poets begin to grow asham'd of their harsh and broken Numbers, and promise to file our uncouth Language into smoother Words. Once more, therefore, I presume to offer Myself and this Composition with all humility to Your Grace's Protection, at least till I can redeem so mean a Present by One which may better deserve Your Acceptation. Be pleas'd to pardon my Ambition, which had no other means to obtain the Honour of being made known to You, but only this. The Town, which has been so indulgent to my first Endeavours in this kind, has encourag'd me to proceed in the same Attempt; and Your Favour to this Trifle will be a good Omen not only to the Success of the Next, but also to all the future Performances of Your Grace's most Obedient and most Obliged Servant,
"Henry Purcell."
The music of Dioclesian is scored for "1st Violins, 2nd Violins, Tener Violins, Base Violins, 2 Flutes, 3 Hautboys (1st, 2nd, and Tener), 1 Basoon and 2 Trumpets;" the vocal parts have solos for all the voices, and there are numerous choruses. It is evident Purcell regarded this work with some affection and pride; all the printed copies were corrected by his own hand. At the end of the book is printed the following:—