Item by item, one might mention everything that was seen or heard, and one would remain certain that however perfect and beautiful each might be in itself, and even however perfect might be the harmony of them as an ensemble, they yet were not enough to explain the total value: and that even if you were able to explain the total value artistically, from the standpoint of art as we understand the term, there would yet be a kind of value, an invoking of one's inner nature without words, which for lack of a better term one must call a _spiritual_ value--not only moral, or mental--which would remain unexplained. In short, that there was here shown an element, a kind of value, which is wholly unfamiliar to the critics of the present day. When we speak of the drama as an educational element, we conceive of its possible effects along artistic lines, or as setting forth moral principles, or high intellectual ideas. This play did all that, it is true; but it did all that, plus _x_; and what that _x_ represents is not known in our present civilization--or at least, so one suspects. It produced a silence of the senses and of all personal voices within, an uplift and a reverent feeling: yes, a sense that one had been given a revelation of what the great mystics of the world have meant by the word _spiritual_. Deeper places in one's being were touched, than any that respond to the work of the greatest actors of the present or of recent times. So that any enthusiasm, any praise, seems something like an insult. To speak of the Genius of the one that produced the play--Katherine Tingley--that too seems a kind of insult. We have not attached to the term genius, a breadth of meaning great enough to include the qualities necessary for the production of a result so unlike anything that has gone before. We have seen it compared with the work of the premier actors of the age, and that to the advantage of the Point Loma production. The remark is not good criticism. The difference is not one of degree, but one of kind. No actor manager, probably, would have handled this play; none could produce, with any play of the greatest dramatists, results that so baffle description, so affect one's conceptions in those parts of one's being that lie behind and deeper than formal mentality or imagination, or artistic appreciation. Perhaps Katherine Tingley could explain how it is done. I think no one else could. It is delightful to hear that Mrs. Tingley is making plans for larger facilities for seating the people, as even with its present great size, the Greek Theater at Point Loma cannot meet the demands. It is whispered also that she has several more Greek and other plays in preparation, which in course of time will be presented in the Greek Theater, and possibly at her Isis Theater in San Diego as well. THE PROLOG