There are no specific directions as to the position of the sofa and chairs, but as a large number of characters are on the stage at one time, a great many will be necessary. The exact number of chairs, as well as the positions they will have to occupy, depend largely on the size and shape of the stage. The above diagram will serve at first as a working basis. Turning to the opening of the second act, we find the following directions:
(Same as Act 1.
(Bellac, Toulonnier, Roger, Paul Raymond, Madame de Céran, Madame de Loudan, Madame Arriégo, the Duchess, Suzanne, Lucy, Jeanne seated in a semi-circle, listening to Saint-Réault, who is finishing his lecture).
SAINT-RÉAULT. And, make no mistake about it! Profound as these legends may appear because of their baffling exoticism, they are merely—my illustrious father wrote in 1834—elemental, primitive imaginings in comparison with the transcendental conceptions of Brahmin lore, gathered together in the Upanishads, or indeed in the eighteen Paranas of Vyasa, the compiler of the Vedda.
JEANNE (aside to Paul). Are you asleep?
PAUL. No, no—I hear some kind of gibberish.
SAINT-RÉAULT. Such, in simple terminology, is the concretum of the doctrine of Buddha.—And at this point I shall close my remarks.
(Murmurs. Some of the audience rise).
Here two or three—Bellac and Roger, and one of the ladies, let us say—rise, and chat in undertones in a small group among themselves.
SEVERAL VOICES (weakly). Very good! Good!
SAINT-RÉAULT. And now—(He coughs).
MADAME DE CÉRAN (eagerly). You must be tired, Saint-Réault?
At this, Madame de Céran might well rise, as if to put an end to Saint-Réault's speech. The others are impatient, and perhaps one or two start to rise. The others whisper, or appear to do so. Then Saint-Réault continues:
SAINT-RÉAULT. Not at all, Countess!
MADAME ARRIÉGO. Oh, yes, you must be; rest yourself. We can wait.