[It is a long garden stair which we are shown, a stair suggested by some of the planting we have already seen but which begins its Georgian graciousness just where the Meeting House stood a moment since. It rises in shallow steps broken by broad levels, three of them, if possible, and on each of the levels, a bench, very simple and dignified. These levels will hereinafter be referred to as the first, second and third landings. The third is a long terrace, lined, in its central portion, by a chaste and lovely balustrade which extends to a planting of delicately trimmed shrubbery. The whole scene has the look of some exquisite New England garden of the eighteenth century.
The musical accompaniment of this revelation is serenity itself. Freedom stands on the lowermost step of the stair. She wears more than ever gorgeous raiment. She stands there as though she paused in her ascent to look back into the audience. On either side of the stair, the Choir of speakers is banked, thirty-two in all, dressed pictorially, yet not so brightly as to distract the eye from the action of the play.]
Freedom
Revolt is the way of Freedom,
And the progress of Freedom is Change.
(Then a wild cry.)
Bloodily! Bloodily!
Revolt! Revolt! Revolt!
(Then more calmly.)
Look that you curb us not,
My men and I;
For present liberties enslave tomorrow,
And present triumphs shackle future years.
We see no limit set upon our purpose
Short of the Godhead ... so, restrain us not.
Be it here sworn:
These dead of Lexington
Have not vainly died,
These living
Have not vainly dreamed.
[She goes on up the stair.]
The Choir