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Practical
GraphQL
Learning Full-Stack GraphQL
Development with Projects
—
Nabendu Biswas
 Practical GraphQL
Learning Full-Stack GraphQL
Development with Projects

Nabendu Biswas
Practical GraphQL: Learning Full-Stack GraphQL Development with
Projects
Nabendu Biswas
Bhopal, India

ISBN-13 (pbk): 978-1-4842-9620-2 ISBN-13 (electronic): 978-1-4842-9621-9

https://doi.org/10.1007/978-1-4842-9621-9

Copyright © 2023 by Nabendu Biswas

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This book is affectionately dedicated to my wife and kid.
Table of Contents
About the Author���������������������������������������������������������������������������������ix

About the Technical Reviewer�������������������������������������������������������������xi

Introduction���������������������������������������������������������������������������������������xiii

Chapter 1: Getting Started��������������������������������������������������������������������1

Initial Setup������������������������������������������������������������������������������������������������1
Summary����������������������������������������������������������������������������������������������������3
Chapter 2: Queries��������������������������������������������������������������������������������5
Setting Up the GraphQL Server������������������������������������������������������������������5
Scalar Types���������������������������������������������������������������������������������������������10
Array Types�����������������������������������������������������������������������������������������������15
Array of Objects����������������������������������������������������������������������������������������19
Querying a Single Object��������������������������������������������������������������������������22
Queries for Genres�����������������������������������������������������������������������������������24
Relating Genre to Courses������������������������������������������������������������������������27
Relating Courses to Genre������������������������������������������������������������������������30
Reorganizing the Code�����������������������������������������������������������������������������32
Using Context�������������������������������������������������������������������������������������������36

v
Table of Contents

Adding Reviews����������������������������������������������������������������������������������������39
Adding Filtering����������������������������������������������������������������������������������������42
Filter by Average Rating���������������������������������������������������������������������������46
Summary��������������������������������������������������������������������������������������������������48
Chapter 3: Mutations��������������������������������������������������������������������������49
Creating Data�������������������������������������������������������������������������������������������49
Deleting Data��������������������������������������������������������������������������������������������57
Updating Data�������������������������������������������������������������������������������������������68
Summary��������������������������������������������������������������������������������������������������75
Chapter 4: Full-Stack GraphQL�����������������������������������������������������������77
The Setup�������������������������������������������������������������������������������������������������77
Create an Express Server�������������������������������������������������������������������������78
Set Up GraphQL����������������������������������������������������������������������������������������80
Client Queries�������������������������������������������������������������������������������������������82
Project Queries�����������������������������������������������������������������������������������������85
Cloud MongoDB����������������������������������������������������������������������������������������89
Mongoose Models and Fetching Data����������������������������������������������������100
Client Mutations�������������������������������������������������������������������������������������104
Project Mutations�����������������������������������������������������������������������������������107
Client with React������������������������������������������������������������������������������������114
Apollo Setup for the Client���������������������������������������������������������������������120
Adding the deleteClient and addClient Mutations����������������������������������125
Displaying Projects and the React Router����������������������������������������������133

vi
 Table of Contents

Displaying a Single Project���������������������������������������������������������������������140

Creating the addProject and deleteProject Mutations����������������������������144
Updating the Project and Cascade Delete����������������������������������������������154
Summary������������������������������������������������������������������������������������������������161
Chapter 5: Creating an App with Prisma������������������������������������������163
The Setup�����������������������������������������������������������������������������������������������163
ElephantSQL Setup���������������������������������������������������������������������������������168
Configuring Prisma���������������������������������������������������������������������������������172
Creating the Schema and First Mutation������������������������������������������������176
More Queries and Mutations������������������������������������������������������������������183
Creating the postDelete and postSignup Mutations�������������������������������188
Adding Validators�����������������������������������������������������������������������������������191
Password Encrypting�����������������������������������������������������������������������������194
Implementing JWT���������������������������������������������������������������������������������195
Creating the Sign-in Mutation����������������������������������������������������������������199
Authorized User��������������������������������������������������������������������������������������202
Publishing and Unpublishing Posts��������������������������������������������������������209
Other Queries�����������������������������������������������������������������������������������������212
Summary������������������������������������������������������������������������������������������������220
Chapter 6: Connecting with the Front End����������������������������������������221
The Setup�����������������������������������������������������������������������������������������������221
Connecting the Client to the Server and the First Query������������������������223
Querying with Variables�������������������������������������������������������������������������227
Rendering Based on the User Profile�����������������������������������������������������231

vii
Table of Contents

Adding an Auth Token�����������������������������������������������������������������������������234

Publishing and Unpublishing Mutations�������������������������������������������������241
Creating the SignIn and SignUp Mutations���������������������������������������������245
Adding a Post Mutation��������������������������������������������������������������������������252
Summary������������������������������������������������������������������������������������������������256

Index�������������������������������������������������������������������������������������������������257

viii
About the Author
Nabendu Biswas is a full-stack JavaScript
developer and has been working in the IT
industry for the past 16 years for some of
world’s top development firms and investment
banks. He is a passionate tech blogger and
YouTuber and currently works as an Architect
in an IT firm. He is also the author of six Apress
books focusing on topics such as Gatsby,
MERN, TypeScript and React Firebase, all of
which can be found on Amazon.

ix
About the Technical Reviewer
Preethi Vasudev is an Oracle Certified Java
programmer with more than 20 years of
industry experience in investment banking,
healthcare, and other domains. She has a
master’s degree from Auburn University,
Alabama, and enjoys participating in coding
competitions.

xi
Introduction
GraphQL is revolutionizing how we develop and build websites. Seen
as an alternative to REST APIs, this query language has become popular
among developers and engineers who are looking for a query language
to help them quickly develop and deploy applications and features with
minimal fuss.
Starting with the basics, this book will teach you how to set up
GraphQL and key details regarding queries and mutations, before moving
on to more advanced, practical topics and projects.
You will gain a full understanding of the full web development
ecosystem from front end to back end, by learning to build React
applications using Prisma Apollo Client and MongoDB. Using a project-­
based approach, this book will equip you with all the practical knowledge
needed to tackle full enterprise projects and turbocharge your skills and
projects.

xiii
CHAPTER 1

Getting Started
In this book, you will learn about GraphQL. GraphQL is a new way to
create APIs. Traditional APIs were created with REST. The problem with
REST is that even when you need a subset of data, the endpoint gives all
the data from the databases.
This is a waste of precious network resources. So, in this book, you will
learn all about GraphQL. Here, you will learn to create APIs in a new way
in NodeJS. You will also learn to connect them to the front end.

Initial Setup
In this first chapter, you will learn how to install GraphQL on your system.
Also, you will learn to add extensions for GraphQL on VS Code to help you
in the development process.
To start using GraphQL, you need to have NodeJS installed on
your system. You will be using VS Code in your project. After that, you
should also install an extension called GraphQL, which will be helpful in
highlighting GraphQL in VS Code (Figure 1-1).

© Nabendu Biswas 2023 1

N. Biswas, Practical GraphQL, https://doi.org/10.1007/978-1-4842-9621-9_1
Chapter 1 Getting Started

Figure 1-1. GraphQL

2
 Chapter 1 Getting Started

After that, create a folder named ecomm-app-graphql from the

terminal. Inside it give the command npm init -y to create an empty
node project. Next, give the following command to add graphql and
apollo- server in the project:

1   npm i apollo-server graphql

There are different ways to use graphql, and apollo is the most
popular one (Figure 1-2).

Figure 1-2. npm install

S
 ummary
In this chapter, you installed the packages apollo-server and graphql
in your system, through the terminal. You installed the official GraphQL
extension in VS Code, which will help you in the development process.
In the next chapter, you will learn about queries in GraphQL, which are
similar to GET APIs in RESTful endpoints and are used to get the data from
the database.

3
CHAPTER 2

Queries
In this chapter, we will start creating an e-commerce app and learn how to
use GraphQL with it.

Setting Up the GraphQL Server

First, we will create an index.js file in our e-commerce app. Here, we
import ApolloServer and gql first. With gql, we define the structure of the
query. The query itself is given in resolvers.
After the resolvers, we create a server through an instance of
ApolloServer, by passing typeDefs and resolvers. Lastly, we listen to this
server on a predefined URL. See Listing 2-1.

Listing 2-1. index.js

const { ApolloServer, gql } = require("apollo-server");

const typeDefs = gql`

    type Query {
        welcome: String
    }
`

© Nabendu Biswas 2023 5

N. Biswas, Practical GraphQL, https://doi.org/10.1007/978-1-4842-9621-9_2
Exploring the Variety of Random
Documents with Different Content
 CHARACTERS.
The Old Woman who lived in a Shoe.
Santa Claus, disguised as a Beggar.
Ten or twelve Children, Boys and Girls of various ages.

Scene.—The exterior of "Copper Toe Shoe House,"

which is set at back of platform.

Chorus (invisible); air, "Revolutionary Tea" (p. 194,

"Golden Wreath").

There was an old woman who lived in a shoe;

Of children she had a score:
So many had she, to know what to do
Was a question which puzzled her sore.

(Head of Child appears at 1.)

To some she gave broth without any bread;

But never contented were they,
Till she whipped them all soundly, and put them to bed,

And then very happy were they,

And then very happy were they.

(Head appears at 2.)

"Now, mother, dear mother," the young ones would cry,

As they dropped off with a nod,
"To train up a child in the way to go,
O mother, dear, ne'er spare the rod.
 (Child's head appears at 3.)

For broth without bread is a watery waste;

And never contented are we,
Till with your good stick it is thickened to taste;

(Three heads appear at 4.)

And then, oh, how happy are we!

And then, oh, how happy are we!"

Enter Old Woman, R. Her costume, bodice, quilted petticoat, sugar-

loaf hat, high-heeled shoes, and cane.

O. W. Aha! (Heads disappear quick.)

Good gracious! can't I leave the house a minute,
But what a head's at every window in it?
Don't let me see the tip of a single nose;
For, if you do, we'll surely come to blows.
Poor dears! they want the air. Well, that is cheap
And strengthening; for they live on air and sleep.
Food is so high, and work is so unstiddy,
Life's really wearing on this poor old widdy.
 FRONT VIEW OF COPPER TOE SHOE HOUSE.

1. Split in the Heel.

2. Patch on the best Corn.
3. Copper Toe.
4. Lookout, or Observatory at top of House.

(Heads appear, one after the other, as before.)

Ah me! here's good old Christmas come again.
How can I join in the triumphant strain
Which moves all hearts? I am so old and poor,
With none to aid me from their generous store.
Child at 1. Mother, I want a drum.
Child at 2. I want a doll!
 Child at 3. Gimme a sword!
Three Children at 4. Got presents for us all?
O. W. Aha! (Heads disappear quick.)
Poor dears! if with the will I had the power,
The choicest Christmas gifts should on them shower.

Song: Old Woman; air, "Comin' through the Rye."

If a widdy's with her biddies,

Living in a shoe,
If a widdy's work unstiddies,
What'll widdy do?

(Heads appear as before.)

Every mother loves her biddies;

Many a one have I;
But where get gifts to fill their fists,
When I've no gold to buy?

Aha! (Heads disappear quick.)

There is a sprite oft comes this night,

Whom children love full well;
But what's his name, and where's his hame,
He does not always tell.

(Heads appear as before.)

Lads and lassies know good Santa,

With presents not a few;
Would he were here, my chicks to cheer,
Living in a shoe!
 Aha! (Heads disappear.)
Well, I'll get in, and make the children warm.
Tucked in their beds, they're always safe from harm.
And in their dreams, perhaps, such gifts will rise
As wakeful, wretched poverty denies.

(Disappears behind shoe.)

Enter cautiously, R., Santa Claus; his fabled dress is

hidden by a long domino, or "waterproof;" he has, swung about his
neck, a tin kitchen, on which he grinds an imaginary accompaniment
to his song.
Santa. "You'd scarce expect one of my age"—
For gray hair is the symbol of the sage—
To play at "hide-and-seek," to your surprise.
Here's honest Santa Claus, in rough disguise.
But 'tis all right, as I will quick explain,
For I've a mystic project "on the brain."
I've dropped down chimneys all this blessed night,
Where warmth and comfort join to give delight;
I've filled the stockings of the merry elves,
Who, to fond parents, are rich gifts themselves;
And now I've come, resolved to make a show
In that old mansion with the copper toe,
Where dwells a dame, with children great and small,
Enough to stock a school, or crowd a hall.
If they are worthy of our kind regard,
Christmas shall bring to them a rich reward.
So I have donned for once a meaner dress,
To personate a beggar in distress.
If to my wants they lend a listening ear,
The rough old shoe shall glow with Christmas cheer:
If they are rude, and turn me from the door,
Presto! I vanish, and return no more.

Song: Santa Claus; air, "Them blessed Roomatics."

 My name's Johnny Schmoker, and I am no joker;
I don't in my pockets no greenbacks perceive.
For, what with high dressing in fashions distressing,
I can't with a morsel my hunger relieve.
My stomach so tender, that aches there engender;
The whole blessed day I am crying out, "Oh!"
Drat these grand fashions! they wakens my passions,
A-nippin' and gnawin' my poor stomach so!

(Heads appear as before.)

I've had the lumbager, dyspepsy, and ager,

With tight-fitting veskits and pantaloons too;
Highsterics and swimins, delirious trimins,
St. Vestris's dance, and the tick dolly-oo.
But not the whole gettin', one's body tight fits in,
Is noffin' to this, which is drefful. Oh, oh!
Drat these grand fashions! they wakens my passions,
A-nippin' and gnawin' my poor stomach so!

(Heads disappear.)

Now, there's a touching song to move the heart,

Hark! what's that? I thought I heard them start.

Song: Children, outside; air, "Oh, dear, what can

the matter be?"
 Oh, dear, what can the matter be?
Dear, dear, what can the matter be?
Oh, dear, what can the matter be?
Somebody's groaning out there!
A hungry old beggar has come here to tease us,
By grinding an organ he knows will not please us.
He hopes it may bring him a handful of pennies,
To buy him a loaf of brown bread.

Enter Old Woman, with Children, L., from behind shoe.

The largest hangs on to her skirts, the next in size to the largest, until
they dwindle to the smallest; repeat song as they enter slowly, turn to
R., march across stage; turn to L., march across again; turn to R., and
form across stage.
O. W. Now go away, old man. 'Tis very queer
That you should seek to waste your sweetness here;
For we've no money, not a cent, to pay
For music; so you'd better up and move away.
Santa. Alas, alas! and can you be unkind
To one who's been by Fortune left behind;
Who has no friend, no money, and no clo'es;
The hunted victim of unnumbered woes?
Good dame, I ask not money: if you please,
A simple crust my hunger to appease.
O. W. Good gracious! Starving! Children, do you hear?
The old man's hungry: quickly disappear!

(Children scamper behind shoe.)

Santa. She drives them in. To me 'tis very clear

Old Santa fails to find a welcome here.
O. W. We're very poor, have fasted many a day,
Yet from our door ne'er drove the poor away.
 Song; air, "Balm of Gilead," by the Children, who march in as before,
carrying sticks, on which are stuck apples, potatoes, crusts of bread,
turnip, carrot, "beat," &c. They move around the stage, singing as
they pass Santa; the last time, pitch their potatoes, &c., into his tin
kitchen. He stands L. of stage; Old Woman, R.
Oh, you sha'n't be hungry now,
Oh, you sha'n't be hungry now,
Oh, you sha'n't be hungry now,
Down at Copper Toe Shoe.
Cold potato—tato,
Cold potato—tato,
Cold pota—to,
Down at Copper Toe Shoe.

(No interlude.)

Oh, you sha'n't be hungry now,

Oh, you sha'n't be hungry now,
Oh, you sha'n't be hungry now,
Down at Copper Toe Shoe.
Crusts for breakfast—breakfast,
Crusts for breakfast—breakfast,
Crusts for break—fast,
Down at Copper Toe Shoe.

Oh, you sha'n't be hungry now,

Oh, you sha'n't be hungry now,
Oh, you sha'n't be hungry now,
Down at Copper Toe Shoe.
Broth for supper—supper,
Broth for supper—supper,
Broth for sup—per,
Down at Copper Toe Shoe.

Oh, you sha'n't, &c.

 Santa. Well, well, I'm puzzled! Here's a grand surprise.
Bless me, the tears are dropping from my eyes!
Thank you, my children. This is quite bewitchin';
With eatables you've nearly filled my kitchen.
Ah, little ones! you've learned the better part.
They are the poor who lack the kindly heart;
And they the rich, the noble, and the high,
Who never willing pass the sufferer by.
Now comes my triumph. Children, speak up bright:
What day is this?
All. Christmas.
Little No; 'tis Christmas night!
Girl. That's true. Now tell me who, against the laws,
Santa. Drops down the chimneys?
All. Why, old Santa Claus!
Santa. Bless me! how bright and nice these children are!
Each eye doth sparkle like the evening star.
Now, then, suppose I were that ancient sprite,
What would you ask, to give you most delight?
Child I'd have a sled.
1. A doll.
Child A kite for me.
2.
Something still better.
Child
3. What?
Child A Christmas tree!
4. Oh, my! Good gracious! Wouldn't that be grand?
Santa. Too grand, my chicks, for you to understand.
Child Why, such a tree within our old shoe spread,
4. Would from their fastenings tear out every thread;
 All Make every peg to start from out its socket,
Children. And send the buckle flying like a rocket.

O. W. Good, good! there's fun beneath that wrinkled phiz.

At playing Santa Claus, let's make a biz.
Santa. Suppose me Santa Claus. I bless you all:
Then from my waistcoat let this oven fall,

(Takes off kitchen.)

Throw off this mantle with a sudden jerk,

(Throws off disguise, and appears as Santa Claus.)

And in an instant set myself to work.

Childr 'Tis Santa Claus!
en. You're right. I am the man,
Santa. Yours to command. I'll serve you if I can;
For I have found, good dame, that honest worth
Can burrow in the lowliest spot on earth;
That sweet compassion's ne'er so poorly fed,
But what she finds an extra crust of bread.
Now, to reward your generous hearts, my chicks,
Into the earth these magic seeds I sticks;
These cabalistic words in Hebrew mutter,—
"Ene, mene, moni, suti, sutter;"
Presto! appear! and, glittering bright and free,
Beams on your sight the mystic Christmas tree.

(Shoe divides, and disappears R. and L. Curtains at

back open, disclosing tree.)

Song: "We'll gather round the Christmas Tree." Santa Claus and
Old Woman distribute presents to the company. Curtain falls.
 REAR VIEW OF COPPER TOE SHOE HOUSE.

Note.—This entertainment was prepared for a Sunday school's

Christmas Eve, and was arranged as follows: A stage, fourteen
feet square, was fitted with a "roll-up" curtain in front. Drapery
was hung at the sides and back; a Christmas tree, filled with
presents, was placed well back on the stage, and hidden by
curtains arranged to separate in the middle. In front of these was
placed "Copper Toe Shoe House." The rear view represents the
frame made of wood, in two pieces, to separate in the middle, of
the following dimensions: ten feet from toe to heel, five feet and
one half from heel to top, four feet and one half across top, heel
about twenty inches long, eight inches high. Cover front, in two
separate sections, with black cambric; for toe, copper tinsel paper;
for sole and patch, brown cambric; for buckle, silver tinsel paper;
the patch fastened only at bottom. A curtain, of same material or
color as back stage, should be hung in rear of shank, that children
standing behind may not be seen. A settee is placed behind it, on
which the children in the dwelling stand. 1, 2, and 3 lie upon the
stage, and stick their heads out when required. The characters
can pass between the curtains at back, to their places. When the
tree is disclosed, all the characters are in front, the settee is
removed, the braces unfastened, and, at a signal, two boys run
off the shoe, and others draw the curtains.

THE TOURNAMENT OF IDYLCOURT.

 THE
TOURNAMENT OF IDYLCOURT.

AN ALLEGORY.
 CHARACTERS.
Justicia, Genius of Idylcourt.
Primeva, Goddess of Nature.
Majesta, Guardian of the Mountains.
Loftie, Aerie, Mountain-Spirits.
Flora, Guardian of the Fields.
Pomona, Agria, Field-Spirits.
Oceana, Guardian of the Sea.
Shellie, Wava, Sea-Spirits.
Genia, Goddess of Art.
Blenda, Genius of Painting.
Classica, Genius of Sculpture.
Harmonia, Genius of Music.
Faith, Hope, Charity, Classica's Models.
Religion, Prayer, Sorrow, Joy, Blenda's Picture.
Poesie, a wandering Maiden.

Scene.—Idylcourt. For a school exhibition, the chorus should be

seated right and left of an open space in the centre of the
platform, for the speakers. There should be a raised platform,
six or eight inches high, at the rear of this, with a dark
background for the more effective display of tableaux.

Opening Chorus; air, "Shady Groves."

 Idylcourt, in fame and beauty
Glorious, bright thy realms appear;
Idylcourt, in love and duty
Willing hearts to thee draw near,
Wise Justicia's words to hear,
Wise Justicia's words to hear.
Court of genius, home of beauty,
Court of genius, home of beauty,
Court of genius, home of beauty,
Willing hearts to thee draw near;
Court of genius, home of beauty,
Court of genius, home of beauty,
Court of genius, home of beauty,
Willing hearts to thee draw near;
Court of genius, love and duty
Render homage to thy beauty,
Render to thy beauty,
Court of genius, love and duty.

During the singing of the Chorus, enter, R., Primeva, Majesta, Flora,
and Oceana. Enter L., Genia, Classica, Blenda, Harmonia. At the
conclusion, enter Justicia R., and stands C. Positions are indicated
by the following diagram:—
 Justici Welcome, fair sisters, to our regal court;
a. Your tuneful measures breathe of good report;
Twin guardian spirits of the fruitful earth,
To glad mankind creation gave you birth.
To you, Primeva, Nature bends in awe;
From you, fair Genia, Art receives its law.
Your free acclaim, upon this regal seat,
Justicia placed, all arguments to meet
With ear impartial; bade her voice decide,
That blissful harmony might here abide.
Your graceful homage, to our royal ear
Is but the foretaste of more welcome cheer.
You need our aid: unto our grateful heart
Your mission's import quickly now impart.
Prime Fair genius—
va. Sweet Justicia—
Genia. Our decree,
Justici By courtly rule, admits no double plea.
a. Be gracious, sisters.
Genia.
 I was wanting grace,
And humbly bend to give Primeva place.
Prime Justicia, yonder proud and haughty sprite
va. Usurps a name Primeva claims by right.
I would have justice!
Justici Art thou just to her?
a. Genia usurper! 'tis a cruel slur.
Brave, truthful speech bears no envenomed sting,
But, like good metal, has an honest ring.
Prime It was an honest truth, I dare repeat;
va. I may be rough in speech, but scorn deceit.
Genia. 'Tis true, Justicia, in a friendly way,
I chanced to cross Primeva's path to-day,
And held some converse with my sister sprite,
Whose bold, free speech is often my delight.
Our theme was conquest; and, in pleasant strife,
Each boasted of her power o'er human life;
And, half in jest, this boast I gayly hurled,—
"I, Genia, am the empress of the world."
Prime 'Tis false. It was no jest.
va. Primeva, cease!
Justici Your angry humor doth disturb our peace.
a. Primeva met my jest with frowning brow,
Genia. And angry words, so bitter in their flow,
My jesting humor fled. We argued long
To whom, by right, that title should belong;
Leaving all else but this great truth behind,—
She is the greatest who best serves mankind.
Justici Who won the battle?
a. That you must decide.
Genia. By your impartial fiat we abide.
 Prime On this we are agreed. Justicia, hear,
va. And let your judgment be both wise and clear.
Nature's own goddess, crowned and sceptred, I
Stand forth all meaner powers to defy.
I rule the field, the mount, the sky, the sea:
Who shall presume in power to rival me?
I wave my hand; and, o'er the barren waste,
Upspringing flowers to meet my coming haste.
I smile: the trees, o'erburdened with their fruit,
Bend low, with blushing cheeks, for my salute.
I speak: the bristling hillocks, far and near,
Present in homage many an opening ear;
The grand old mountains, stately and serene,
Welcome my coming, own me as their queen;
Adown their sides I loose the mimic streams,
To sport and revel in the sun's warm beams.
I rule the mighty sea by wave and tide;
I deck with starry gems the heavens wide;
I hurl the storm upon the maddening sea;
The shifting winds, obedient, follow me;
I bind the waters in an icy band,
And spread a snowy pall o'er all the land;
With all the elements I sport at will,
And, fast or loose, all my commands fulfil.
Fair genius, 'tis but just, that, so renowned,
As empress of the world I should be crowned.
Justici There's anger in thy speech, pride in thine eye;
a. Ambition's soaring pinions lift thee high.
What says your rival to this weighty claim?
Can aught be found to heighten Genia's fame?
Genia. Justicia, I a mightier sceptre sway,
And make Primeva's realms but pave the way
To grand achievements. Through her flowery field
I drive the plough, and bounteous harvests yield;
With skilful husbandry I trim and train,
And bursting garners from wild growth obtain;
Tunnel her mountains with resistless force,
And make a pathway for the iron horse;
Gird up her waters to obey my will,
And move the strong arm of the whirring mill.
Across her broad expanse, the mighty sea,
My white-winged messengers move swift and free;
From out their earthen graves I pluck the gems
That warm and shape, or glow in diadems.
In aërial flights I wander through her sphere,
Or with rare science draw her planets near,
With touch electric feel the farthest clime,
And count the storm-specks on the wings of time.
She empress of the world! it cannot be;
All her possessions minister to me.
Rough and ill-shaped the treasure she displays;
I mould and carve, and make the jewel blaze.
I claim the crown. Justicia, be thou true;
She must be greatest who can all subdue.
Justici Unto this haughty speech, and fulsome praise,
a. We've listened, Genia, in a wild amaze.
Hast thou forgot, self-laudatory boast
Was ne'er the leader of a conquering host?
But that to sober justice we're allied,
We should be merry at such foolish pride.
Genia. We wait your verdict.
Prime 'Twill give me the crown.
va. Primeva, cease.
Genia.I care not for your frown.
Prime Betwixt the false and true she must decide:
va. Mine is the wise, and yours the foolish pride.
Justici This idle skirmish doth our court defame;
a. A silly quarrel for an empty name.
 Prime A silly quarrel! Is Justicia fair,
va. To shun a verdict by excuse so bare?
Genia. She's bound to rule whene'er we make appeal:
Be wise, Justicia, and your choice reveal.
Justici Hear, then, the judgment which we now proclaim:—
a. As each has sought to blazon her own fame,
The key to right in this one truth we find,—
She is the greatest who best serves mankind.
On this you are agreed. Here rest your case,
And leave the verdict to the human race.
Ofttimes, in Idylcourt, you've chanced to meet
An earthly maid, who favors our retreat,
With curious, watchful eyes, as though she sought
Food for the nourishment of new-born thought,—
A goodly type of fair, ingenuous youth,
About whom floats an atmosphere of truth.
Woo her, fair sisters, with all fair device,
Which should in honest rivalry suffice;
In peaceful tourney meet to win the maid;
And on the victor shall our hand be laid
In benediction of so wise a choice;
Then harmony prevails, and all rejoice.
Prime An admirable plan.
va. Justicia's right.
Genia. Prepare your forces for the bloodless fight.
Justici Be earnest in the strife, but loyal ever,
a. And some success must crown a right endeavor.

Chorus; air, "New-mown Hay."

 Then gayly to the tourney hie,
And struggle for the crown;
The strong in right shall all defy,
The wrong in shame go down.
In peaceful contest meeting,
All courteous be the greeting.
We arm, the contest to begin:
Hurrah! the right shall win!

At the words, "All courteous" Justicia extends her right

hand; Primeva lays her left hand upon it; Genia lays her right. They
stand thus until the chorus ends. Then repeat the chorus. Justicia
steps back, and exit R.; Primeva and Genia with their attendants
countermarch, and exeunt R. and L. As the song ceases, enter from R.,
Poesie.
Poesie. Vanquished again! Was ever mortal maid
By wild, illusive phantoms so betrayed?
Taught by a wise old seer that Idylcourt
Of guiding genii is the famed resort,
I've wandered in and out for weary hours,
Seeking the leaders of those mighty powers
That robe the earth in beauty, seasons guide,
Hang out the stars, and shift the changing tide,
Endow with action all the sons of earth,
And to the good and beautiful give birth.
Alas! my search is vain. About me glide
Tormenting shadows, that my calls deride.
I feel their presence in the fragrant breeze;
I touch their fingers in the fruited trees;
I spy their images in mirrored fount;
I hear their music in the echoing mount.
I know that at their touch fair cities rise;
That at their call delighted progress flies;
That at their smiles e'en towering genius soars
To loftier heights, and richer spoil secures.
And yet far off they stand. I cannot meet
The love-light of their eyes, or at their feet
Drink in the wisdom of inspiring speech.
The springs of power rise far beyond my reach.
Hear me, ye spirits, wonderful and grand!
Upon your charmèd ground I fearless stand.
Come ye in frightful shapes, or forms of grace,
I challenge you to meet me face to face.

Chorus: "The Fairy's Revel."

The mountains are sending their forces in might;
The fields are upspringing, and girding for fight;
The sea is outpouring, the air is alive,
For thee, fair Primeva, in tourney to strive.
During which, enter, R., Primeva; Flora, bearing flowers;
Pomona, bearing basket of fruit; Agria, with a bundle of dried grass,
hay, and grain; Oceana, Shellie, Wava, Majesta, Loftie, Aerie, and take
positions according to following diagram:—

Poesie Conquered at last; and yet with strange affright

. I am possessed at this most dazzling sight.
Fair spirits, at my call you've kindly met.
I'm little skilled in your court etiquette:
Accept the homage of a grateful heart,
That long will cherish what you may impart.
Prime A suitor for that heart behold in me,—
va. Primeva, Nature's goddess, strong and free.
Follow my footsteps, and the path of life
Shall be with beauty and instruction rife.
Nature's grand empire all inviting opes,
To crown with joy and bliss thy youthful hopes.
The realm of matter owns my sovereign sway;
All working forces my commands obey.
But give to me thy heart, and onward press,
For I've the power to beautify and bless.
Come thou, fair Flora, guardian of my fields,
Display the charms thy rich dominion yields.

(Flora steps upon platform at L. of Poesie. Pomona

and Agria step behind them.)

Flora. Broad and bright, in beauty and in worth,

The realms I govern stretch about the earth:
In pastures where the meek-eyed cattle graze,
In clustering woodlands, musical with praise,
In mighty forests where the untamed rove,
O'er rich plantations, through the tropic grove,
O'er plain and prairie, noiseless to the tread,
My regal green luxuriously is spread.
Out of my thrifty soil mankind's supplies,
At lusty labor's call, obedient rise.
With fancy's touch I skilfully combine
Grove, hill, and river in a rare design,
And spread for Genius, rich, attractive views
She fails to catch, yet hopefully pursues.
Come to my realms, fair maid! Primeva's heart
With warmest love shall purest joys impart.
Agria.
 Haste, gentle maid, into our fair retreat:
Agria will lay her treasures at thy feet.
Pomo And in thy lap, from her abundant store,
na. Pomona will her choicest treasures pour.
Flora. Thou shalt be welcomed with a matchless song,
Our heaven-taught singers joyously prolong;
On mossy beds recline for happy hours,
Charmed by rich perfumes, decked with lovely flowers.

Tableau: "Flora's Tribute." Music.

Poesie sinks on one knee, making a "lap" of her dress

with her hand. Flora steps behind, holding flowers over her head.
Agria at R., kneeling, in the act of laying her treasures at her feet.
Pomona, L., bending forward, about to pour her fruits into her lap.
Oceana with her arms about Wava and Shellie, R. and L., kneel. Majesta,
Loftie, and Aerie form a standing group, with arms thrown about each
other. Pomona passes to back, L. corner. Flora looks down at Poesie.
Poesie has her head thrown back, looking up at Flora. All the others
look at Poesie. Music continues until the group is well settled in
position, then,—

Chorus; air, "The First Violets."

Come with gentle Flora, fair fields to rove.

She can deck with beauty, she will share with love.
Bathed by the sunlight, and fed by the dew,
Her bright and verdant regions are opening to you.

Poesie (springing to her feet; others retiring to their

first positions).

Sweet, gentle Flora, take me to your heart;

In all your joys I long to bear a part.
 Prime Nay, not so fast, fair maiden. List again.
va. Majesta burns your homage to obtain;
She is the guardian of the mountains high,
Whose peaks in grandeur pierce the arching sky.
Majest Where the fierce eagle builds her dizzy nest,
a. Amid the clouds, I take my regal rest.
The sun on me his morning kiss bestows,
And nightly wraps me in his farewell glows.
The storm-king grimly musters round my throne,
And sends his chariots to the farthest zone.
My realms stretch far and wide o'er all the land,
And monuments of awe-inspiring grandeur stand.
Within my treasure-caverns locked secure,
Are precious stones, and veins of gleaming ore;
Marbles and granites—sleeping giants—lie,
Long to escape the crafty builder's eye.
Come to my realm, fair maid, and thou shalt find
The golden talisman that lures mankind.
From towering summits watch the creeping world;
See beauty's colors gloriously unfurled;
Heap the weird echoes bound from steep to steep;
And see the lightning take his earthward leap.
Primeva's fortress shall thy guardian be:
Give me thy hand, and upward mount with me.

Tableau: "The Listeners." Music.

Majesta stands C., with left hand pointing up over

audience. Poesie, kneeling R., places her left hand in Majesta's left, and
bends forward, intently gazing in the direction in which she points, her
right hand behind her ear. Loftie passes to L. of Majesta, and kneels
with her hand on the waist of Majesta. Aerie in same position, R. of
Poesie. Oceana and her sprites form a standing group, R., back. Primeva
steps back of all; and Flora and her sprites form standing group, L.,
back. Music continues until all arranged, then,—
 Chorus; air, "The Herd-Bells."

Amid the mountains fleeting,

The echoes linger long,
Earth's song of praise repeating,
In chorus rich and strong.
The grand old mountains proudly
Their heads in beauty raise,
And, bathed in blushing glory,
Accept the song of praise.

[The effect could be heightened by concealing a chorus

at the farther end of the hall, and introducing an echo refrain in the
song.]

Poesie (springing up; the others resuming their former

positions).

Upward, Majesta, guide my willing feet;

I long to share the joys of your retreat.
Prime Curb your impatience once again, I crave.
va. Speak, Oceana, guardian of the wave.
Ocean Know me, fair maid, as guardian of the sea,
a. The wealth of waters stretching far and free,
Deep basined in the world; in peace as mild,
As bright and beauteous, as a sportive child;
Dancing in sunlight up and down the sand;
Leaping, with white-capped waves, the rocky strand;
Creeping to shady nooks on pebbly bed;
Sleeping in moonlight 'neath a silvery spread.
Over her rolling roads, in strength and pride,
The floating treasure-chests of nations glide;
In emerald pastures deep beneath her crest,
The fin-clad wanderers from their gambols rest.
At mankind's call she hastes to do her part,
And from her herds bestows with generous heart.
Far, far below, fair cities rear their walls
With jewelled keeps, and coral-caverned halls.
Come to my realms, fair maid, and float with me
Upon the bosom of the swelling sea.
Hark to the song of Naiads far below;
See in the sunlight yonder billows glow.

Tableau: "The Gazers." Music.

Oceana kneels on one knee R. of Poesie, pointing off R.
Poesie places her left hand on Oceana's shoulder, leans forward, shades
her eyes with right hand, and looks in the direction of pointed hand.
Shellie comes L. of Poesie, a little behind her, and kneels quickly,
holding a shell in her hand. Wava kneels in front of all, with her finger
to her lip, and her hand waving silence to Primeva, who stands L. Aerie
and her sprites form a standing group, L., back, and Majesta and her
sprites the same, R., back; all looking in the direction in which Oceana
points. Music continues until the picture is complete, then,—

Chorus; air, "Boating Song."

Gayly, ye billows, among you we play;

Take us up gently, and bear us away;
Light on the surface of ocean we glide;
Deep in her bosom we fearless abide.
Roving at pleasure, joyous and free,
Rocked in the arms of the murmuring sea.

Poesie (starting up; others resume former positions).

Among thy happy scenes I long to roam;

Bright Oceana, take me to thy home.
Prime Thou shalt be free to roam field, mount, and sea,
va. If thou but give thy gentle heart to me.
These sisters three, my ministers of state,
My edicts to enforce, obedient wait;
And I, submissive to a heavenly will,
With mighty powers its commands fulfil.
I own no earthly rule, no rival fear;
Beauty and grandeur at my voice appear;
What title, Poesie, will you here bestow
On one in whom such rare endowments glow?
Poesie Thy glorious visions wrap me in amaze;
. Speech were too poor, in eloquence of praise,
To frame a title that would fitly stand
To mark a power so wonderful and grand.
What title can I give? I pray thee tell.
Prime The empress of the world would suit me well.
va.
Enter Justicia, R.

Justici Hold, rash Primeva! not to gain applause

a. Should wild ambition overstep our laws.—
What thou hast heard, fair mortal, ponder long,
For hasty action often strengthens wrong;
Another suitor comes; give willing ear;
Weigh well all doubts; then let the truth appear.
[Exit, R.

Chorus: "The Fairy's Revel."

The armies of Genius outpour in their might,

Fair Science is marching her clans to the fight.
At the call of its mistress Art's realms are alive,
For thee, lovely Genia, in tourney to strive.
(During the chorus, all upon the platform move round
back of Poesie, and form in line. Enter L. Genia, Blenda, and Classica.)
Poesie Another brilliant throng, so fair and bright,
. My spirit quickens with a new delight.
Welcome, sweet friends: if me you come to greet,
Such glowing honors lay me at your feet.
Genia. Kneel not to me; I come to win thy heart.
The suitor here should choose the lowly part.
Fair mortal, listen. Genia is my name:
Art's chosen goddess, mighty is my fame.
Thou art the offspring of that sovereign Thought,
Under whose sway the universe is brought;
And I, the guiding genius of mankind,
In bonds submissive, Nature's realms to bind.
Before my birth, the world was filled with strife,
And all the squalor of barbaric life;
The human race in ignorance sunk deep,
Content to live and die in sloth and sleep.
But, with my coming, energy awoke,
And reason through the deadening chaos broke;
Awakened Thought, in wonder, sought by lore
Creation's mystic riddle to explore;
And, as she strove, the world's great change was wrought,
With purer joys from deeper delvings brought.
Beneath my sway, all's wonderful and grand
Where taste and culture deck what Nature planned.
Give me thy heart, and with all-conquering might
I'll guide thy steps through life to realms of light.
I bring three sisters in my regal train,
Who high in Art's supreme dominion reign.—
Blenda, approach. Thy skill to Poesie show,
And let rare colors on thy canvas glow.
Blenda In Nature's studio, Blenda's models rise
. In various shapes to gladden and surprise.
The shadows of their beauties to secure,
Leads genius many trials to endure.
But what a triumph waits the earnest heart,
Who on the canvas sees her trophies start
To life and action, adding, age on age,
To history many a bright, illumined page!
Portraying vice with rarely gifted hand,
She sees a warning light 'gainst passion stand.
Depicting virtue in her pure attire,
She warms all hearts to worship and aspire.
Inwrapping sense and soul with pleasure high,
To homage leads the world's applauding cry.
Look on the picture I will now display,—
Religion standing in the heavenly way,
Her finger pointing in the Book of truth,
Instruction pouring in the ears of youth.

Tableau: "The Heavenly Way" Music.

Blenda takes Poesie's hand, and leads her R., then turns,
and points to C. Poesie falls upon her knees with clasped hands. Primeva
and her sprites, who are in a line, back, separate R. and L., disclosing
group. Religion, standing C., an open Bible supported on her left hand,
rests upon her arm, the open pages towards audience; her right hand
rests on the page, with one finger pointing. At her right hand, kneels
Joy, pointing with her left hand to Religion, her right on the shoulder
of Sorrow, who is crouching before her, with her face buried in her
hands. Left of Religion, Prayer kneels, joining the hands of a little child
who is in front of her: she is looking up at Religion. Music soft and low,
until the group is formed, then,—

Chorus: "How gently, how calmly."

 So gently, so calmly descending,
Religion glides over the earth,
So pure, so bright,
She decks the earth with heavenly light,
That charms to calm and sweet repose.
Oh, lovely spirit!
Genia in triumph shall soon arise;
Blenda calls beauty from out the skies;
She shall be honored evermore;
Goddess of Art, your crown is secure.
Joyous are we, &c.

(Music continues until all change to their old positions.)

Poesie I am enraptured with your beauteous art;
. Sweet Blenda, let me henceforth share your heart.
Genia. Classica waits, fair maid: we hold her dear;
With words of counsel let her now draw near.
Classic Dull, senseless stone, I train to living grace,
a. Trace beauty's lines upon the pallid face;
From sullen marble draw the prisoned heart,
And strength and sense to meaner clay impart.
Over the earth I rear the grandest homes,
With towering pinnacles, and stately domes;
While tombs and pyramids for ages stand,
To mark the workings of my gifted hand.
Who follows me must labor hard and long,
Be brave in trial, and in patience strong.
The tasks I spread, by perils oft beset,
The sculptor strengthen, when courageous met;
Through me, life-studies he must ponder o'er,
And dive deep down in streams of classic lore;
And, if he fails to reach his ideal plan,
Out of his struggles he has carved—a man.
But, if he triumphs, grand is his renown;
Fame can bestow no more enduring crown.
Upon my marbles, maiden, look with me;
Faith, Hope, and Charity,—the peerless three.

Tableau: "The Peerless Three" Music.

Classica takes Poesie's hand, and leads her R., then
turns, and points C. Poesie falls upon her knees. The characters at back
separate, showing group: Charity, a tall figure, C., her left hand upon
the left shoulder of a child, who stands nearly in front of her, half
turned towards her, with outstretched hand, into which Charity is in
the act of dropping a coin, with her right hand. At R. of Charity stands
Hope, leaning upon an anchor, looking at Charity. On her L. stands
Faith, with her arms folded about a large cross, which rests upon the
platform, and reaches above her shoulder. Faith and Hope should be a
little shorter than Charity. All the figures in plain white, no colors; the
cross and the anchor should be white. Music soft and low until all is
arranged, then,—

Chorus; air, "How gently, how calmly."

How calmly, how sweetly relieving,

Moves Charity over the earth,
With Faith and Hope!
They deck the earth with heavenly light,
That charms to calm and sweet belief.
Oh, lovely spirits!
Genia in triumph shall now arise;
Classica calls from out the skies;
Her works for ages shall endure;
Goddess of Art, your crown is secure.
Joyous are we, &c.

Poesie (starting up; line at back changing as

before).
 Classica, thy sculptured forms are all divine.
Has Art another realm can equal thine?
Genia. Thou shalt be judge, fair maid; within my train,
Is one who can the wildest heart enchain;
She rules the realm of song, melodious moves,
Gathering the warbled sweets of woodland groves;
And thence distilling soul-entrancing lays,
That fill the earth with peace, the heavens with praise.
Spirit of music, sweet Harmonia, wake:
Of thy rich gifts bid Poesie partake.
Music. Characters at back separate. Harmonia
discovered, C., standing erect, a lyre in her left hand, the fingers of
her right upon the strings. Poesie moves up, and kneels at her feet,
looking up at her with clasped hands. The characters group
themselves in sitting and reclining positions about her. Primeva and
Genia stand at extreme R. and L., back.

Solo and chorus: "So merrily over the Ocean

Spray."

Harmonia sings the three solos, then full chorus.

Solo. I am queen of the realm of song,

My home the harmonious sea,
Where the spirits of music prolong
Unceasing a welcome for me.
From the song wave they merrily brave,
Melodious voices glide;
Oh, sweet is their song as it floateth along
The crest of the tremulous tide!
Choru So merrily over the sea of song,
s. Rising and falling we float along;
So merrily over the sea of song,
Gayly we float along.
Gayly over the sea,