Artemis Temple Essay Example for Free

Artemis Temple Essay She presided over the transition of a woman from virgin (parthenos) to married woman (gyne) and protected the virginity of those who were unmarried or wished to remain virgins (2). Artemis also oversaw marriage, childbirth and assisted with child-rearing (3). Virginity was especially emphasized in the Temple of Artemis at Ephesus: only virgins and men were allowed access and married or sexually active women were excluded under penalty of death. Artemis is commonly regarded as a fertility goddess, mostly because of the multitude of ‘breasts’ that cover her cult image (4). This essay will discuss three aspects of the Ancient Temple of Artemis, the style, the restoration of its architecture and its importance. The temple of Artemis was built around 550 BC and was the first temple to be entirely of marble and the largest temple ever built. The temple was financed by the wealthy king of Lydia and was designed by the Greek architect Chersiphron. Marshy ground was selected for the building site as a precaution against future earthquakes. The foundation was laid on a bed of packed charcoal and sheepskins, the column drums and architraves moved from the quarry, relates Vitruvius, by fitting them with large wheels and then, like rolling axles, having them pulled by oxen (5). It resembles the classical Greek temple: a stoic rectangular structure with mighty columns (6). The temple measured 350 by 180 feet and from the outside, its most striking feature was its more than 100 marble columns. Since it was built in the Ionic architectural style, the columns were decorated with sculptural reliefs at their bases and rosettes in their capitals (7). There were two rows of columns stretched across the front of the temple, standing about 21 feet apart and extending from the front to the back of the temple at 17 feet apart. The door in the pediment along with two windows was intended for Artemis own use (8). Inside the temple was the statue of Artemis herself, which was built from gold, silver, ebony and other stones. The temple brought in merchants, kings, and sightseers, many of donated jewellery and other treasures to Artemis and her temple. Its splendor also attracted many worshipers and pilgrims, strengthening the cult of Artemis (9). Since she was an influential figure, her fame went higher as soon as her temple was built. The Temple of Artemis was a very famous and attracted visitor from far and near. Its purpose was both a religious institution and market place. The market place itself had small models of the temple and its goddess Artemis for the fellow tourists as souvenirs to take with them. The columns at the front were decorated with intricate sculptures. It was built to honor Artemis as inside the temple was an inner room called the sanctuary that housed  a magnificent statue of the goddess. The temple was destroyed and rebuilt several times, each time it was built more impressively than the time before it. The first time it was destroyed was on the night of July 21, 356 BC, a man named Herostratus set fire to the temple in an attempt to immortalize his name (10). It caused the roof to cave in, the columns collapsed, and the statue of the goddess crashed to the ground. After the town created a law stating whoever mentioned his name would be put to death immediately. In the following two decades the temple was restored with the help of Alexander the Great. But then again in 262 AD, the temple was destroyed by the Goths and later swamped by floods, but still the residents of Ephesus vowed to rebuild it (11). However this time it was not rebuilt due to the high construction costs. A little later the temple began to lose its importance and many people were switching to Christianity and the town was completely isolated. There were attempts made to reconstruct the temple, but so far only a couple columns have been erected upon the remaining foundation.

Museum of Fine Arts in Houston | Reflection

Museum of Fine Arts in Houston | Reflection Cultural Response This cultural response essay will discuss my trip to the Museum of Fine Arts in Houston. I will be describing my favorite works of art, compare two pieces of art by Do Ho Suh, and then describe my experience at the museum. The first part of the museum that I visited was the Audrey Jones Beck building on level 1. The exhibit was the Antiquities and American Art 1800-1970. I saw art given by Ima Hogg, Jackson Pollock, Severin Roesen, Louis Comfort Tiffany and Christian Edward Bottcher. I have visited the Hogg Plantation and being able to see the furniture and art that was given by Mrs. Hogg from her home was very interesting. The first piece of art that caught my attention was in section 107 of this level. It was called the Victorian Bouquet by the artist Severin Roesen in circa 1850-1855. Roesen was an American artist but was born in Germany in 1815. The media of the artwork is oil on canvas. The Victorian Bouquet features a wide variety of exquisite flowers and fruit. It revives the 17th century Dutch tradition of still-life portraits and paintings. The painting celebrates wealth, life, and aesthetic and physical comfort. It contains roses, poppies, morning glories, peonies, tulips, forget-me-nots, car nations, lilies, irises, peaches, raspberries, pomegranates, and a glass of wine among other things. Roesen provides a feast for the senses. What I love most about this work is how vivid, realistic, and beautiful he made the flowers and contents of the picture. The bright and rich colors chosen in contrast to the black background really create a beautiful scene. The second artwork that I was impressed with was created by Louis Comfort Tiffany, who created the Tiffany lamps. This piece was in the same building but in section 109. He was an American artist and developed Tiffany Studios in 1900. The name of the piece is A Wooden Landscape in Three Panels created around 1905. The medium is glass, copper-foil, and lead. A Wooden Landscape is far more complex than any stained glass windows I have seen, which are usually put together like a puzzle. Usually they are layered together in multiple pieces with glass, one on top of the other. This is just like a painter layered his paint of a canvas. Tiffany used subtle choices of color in this artwork which changes with the variations of light that it has been exposed to. Like a living landscape, this artwork changes in appearance responding to the light surrounding it. The thing that caught my attention about this artwork was the size. Its overall size is 7.2 x 11 feet. Another thing that I liked about this artwork was that it was stained glass. I love stained glass windows and how Tiffany did this was gorgeous. My dad has collected Tiffany lamps and so when I saw this artwork I recognized the styling and technique quickly. The Third portrait I found was in the same building as the other two but in section 113. The artist who created the work was Christian Edward Bottcher. Bottcher was a German artist who lived from 1818 to 1889. The name of the artwork was Summer Night on the Rhine which was created in 1862. The medium of the work was oil paint on canvas. It contained medieval castles, picturesque towns, friends gathered under a beautiful tree, and a vineyard sloping down the side of a hill. The Rhine valley is an extremely romantic scene which was captured perfectly in this artwork where there is an exciting, charming, and nostalgic get-together. Laughter and happiness spill from the canvas and it makes you want to be a part of the celebration. The moonlight sets the perfect shadowing and colors to reflect the mood of the painting. What I found to be charming about this scene is how all 15 or so men are trying to court the women and are giving them flowers. It is almost like an extremely large match-m aker party. Another fun thing about this picture is where the party is taking place. You can quickly tell that they are all from the upper class because of their dress and the castle that they are beside, but the party is under a big tree with a table underneath. A chandelier is tied to a limb of a tree with rope. This is a very exquisite oil painting and I sat and wondered at its detail for a very long while. In the Caroline Wiess Law building, 2nd floor, gallery 200, I found the works of Do Ho Suh, a Korean artist living in America. The first piece I found was called Fallen Star 1/5 which is 131 x 145 x 120 inches. It was created in 2008-2009 and is made up of ABS (plastic), basswood, beech, ceramic, enamel paint, glass, honeycomb board, lacquer paint, latex paint, LED lights, pinewood, plywood, resin, spruce, styrene, polycarbonate sheets and polyvinyl chloride sheets. The second piece of art created by Suh is called Home within a Home which was created in 2009. The dimensions of this piece are 131 x 145 x300 inches. It was created with resin. Do Ho Suh began using nylon and silk to create full size representations of his childhood home in Korea and his first American Apartment, a historical building in Providence, Rhode Island. The translucent quality of these materials creates the blurred line between the past and present, inside and outside. Fallen Star 1/5 is an autobiographical rep resentation of Suhs journey from Korea to the U.S. The artwork shows us a traditional Korean scholars house that has crashed into the building that housed his first American apartment. Each object in the house has been hand made by Suh. He made the house and its contents as realistic as possible to create the effect of being lived in and something the viewer can relate to. Home within a Home is a continuation of the piece Fallen Star. In the earlier work, the two buildings were very much separate entities but in Home within a Home, the Korean house and the apartment building have become a part of the same entity, growing and forming together as one. Suhs artwork is not trying to convey the idea of a violent collision between cultures, but rather about how they coexist together. He said maybe If you start to move things around, maybe the Korean house loses its identity, sort of blends in with the American style-or the other way around. I would love to build a house like this because it raises very interesting questions. Are you in a Korean house or an American house? Thats a constant question to myself (MFAH description of artwork). Both pieces of art symbolize the destroyed Old Korea coming together with the merging New Korea and America. Both pieces of art are easy to compare because of their connection that was created by the artist. Both represent the story and journey of Do Ho Suh. They both show what home means to him and how he puts importance on his culture. The only big difference between the pieces is the materials used and the fact that Fallen Star they are two different houses, and in Home within a Home they are put together and morphing into one house. My favorite out of the two is Fallen Star 1/5 because of how realistic it was. It took him 2 years to create this masterpiece and it is so amazing. I love how each room is made to look lived in and creates this warm, at home atmosphere. On the outside of the building he uses an old style of architect ure that I love and it was put together very intricately. There was a woman who was giving a tour to a middle school group and she described the artwork to them by comparing it to The Wizard of Oz. She did this because of how the Korean home is crashed into the apartment building. I thought this was humorous and helped the children relate more to the painting, Were not in Kansas anymore! The one thing I found interesting about Home within a Home was the material used, resin. Just gazing at the piece, you could see right through it and could see every detail of the staircases, hallways, windows, and the roof of the Korean house while still being very detailed on the outside. Both pieces by Do Ho Suh were very interesting and thought provoking. I would recommend any of my class mates to go see them both as soon as possible. My experience at the Museum was very enjoyable and I hope to go there again very soon. I drove there with my mom which created a good bonding time and made the experience even better for me. When we first entered Houston I was actually confused about which building the Museum was a part of and we ended up in the parking garage of the Houston Museum of Natural Science, oops! Once we figured out where we actually needed to be, the right museum, we walked into the first room and were warmly greeted by the two women up front. I had a small, fun conversation with them both and they were extremely interested in my assignment and asked me about it and what I planned to do. Once they looked over my assignment sheet they informed me that my entrance into the museum would be free of charge. That was extremely nice of them to put that much importance into learning and reward students that way! As my mom and I wandered aimlessly around the building taking in all there was to see, all of the empl oyees greeted us and smiled. I noticed quickly that all of them were from different countries, mostly Asia and one man was even from Africa. While my mom and I walked around, we get turned around and confused as to where we were and every single employee we asked to help us was extremely kind. I have already recommended many of my friends to go visit this museum. The pieces of art I saw were amazing and I love that an establishment like this is as close to me as Houston. This trip was a great experience but unfortunately I did not have the time to stay and see all of the pieces and so I hope to go again very soon.

Critical Opinions Essay -- Essays Papers

Critical Opinions Oliver Goldsmith, author of The Deserted Village, spent years as a hack writer, turning out books and articles on all sorts of subjects for London booksellers. Eventually, Goldsmith used his fluent pen to write himself out of obscurity and become one on the most characteristic and best English writers of the late 1700s, with his works The Vicar of Wakefield, The Traveller, and The Deserted Village. The Deserted Village is one of Goldsmith's acknowledged masterpieces, and probably the most distinguished long poem by an Irishman. Despite the popularity of The Deserted Village it became the focus of criticism from Goldsmith's contemporaries. Not all criticism, however, was negative. Literary criticism refers to a balanced analysis; even when literary critics supplement, they generally discuss the merits as well as faults of a work in order to arrive at a sound, deliberate assessment (Murfin 64). Most criticism of Goldsmith's The Deserted Village tended to be positive. Nevertheless, some contemporaries ranked The Deserted Village below The Traveller. For instance, according to Sir Samual Edgerton, The Deserted Village is a poem far inferior to The Traveller, though it contains many beautiful passages. Its inferiority to its predecessor [The Traveller] arises from its comparative want of compression, as well as of force and novelty of imagery. Its tone of melancholy is more sickly, and some of the descriptions which have been most praised are marked by all the poverty and flatness, and indeed are peopled with the sort of comic and grotesque figures, of Flemish landscape (Moulton 630). Irish literary nationalists believe that the village of Auburn in The Deserted Village is the Irish village of Lissoy. ... ...ened by touches of pathos; if sorrow disturb the heart, it is more than half consoled by the thought, that gentle or happy natures will find or make for themselves such simple and unexacting pleasures, wherever their lot may cast (Moulton 681). Oliver Goldsmith continued to write regardless of the different critical views from his contemporaries on the The Deserted Village. While doing my research I came across a very poignant quote by Goldsmith, "Write how you want, the critic shall show the world you could have written better." Works Cited Moulton, Charles Wells, ed. The Library of Literary Criticism. Gloucester, Mass: The Moulton Publishing Company. 1959. Murfin, Ross and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms. New York: Bedford Books. 1997. Swarbick, Andrew, ed. The Art of Oliver Goldsmith. London: Vision Press. 1984. Critical Opinions Essay -- Essays Papers Critical Opinions Oliver Goldsmith, author of The Deserted Village, spent years as a hack writer, turning out books and articles on all sorts of subjects for London booksellers. Eventually, Goldsmith used his fluent pen to write himself out of obscurity and become one on the most characteristic and best English writers of the late 1700s, with his works The Vicar of Wakefield, The Traveller, and The Deserted Village. The Deserted Village is one of Goldsmith's acknowledged masterpieces, and probably the most distinguished long poem by an Irishman. Despite the popularity of The Deserted Village it became the focus of criticism from Goldsmith's contemporaries. Not all criticism, however, was negative. Literary criticism refers to a balanced analysis; even when literary critics supplement, they generally discuss the merits as well as faults of a work in order to arrive at a sound, deliberate assessment (Murfin 64). Most criticism of Goldsmith's The Deserted Village tended to be positive. Nevertheless, some contemporaries ranked The Deserted Village below The Traveller. For instance, according to Sir Samual Edgerton, The Deserted Village is a poem far inferior to The Traveller, though it contains many beautiful passages. Its inferiority to its predecessor [The Traveller] arises from its comparative want of compression, as well as of force and novelty of imagery. Its tone of melancholy is more sickly, and some of the descriptions which have been most praised are marked by all the poverty and flatness, and indeed are peopled with the sort of comic and grotesque figures, of Flemish landscape (Moulton 630). Irish literary nationalists believe that the village of Auburn in The Deserted Village is the Irish village of Lissoy. ... ...ened by touches of pathos; if sorrow disturb the heart, it is more than half consoled by the thought, that gentle or happy natures will find or make for themselves such simple and unexacting pleasures, wherever their lot may cast (Moulton 681). Oliver Goldsmith continued to write regardless of the different critical views from his contemporaries on the The Deserted Village. While doing my research I came across a very poignant quote by Goldsmith, "Write how you want, the critic shall show the world you could have written better." Works Cited Moulton, Charles Wells, ed. The Library of Literary Criticism. Gloucester, Mass: The Moulton Publishing Company. 1959. Murfin, Ross and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms. New York: Bedford Books. 1997. Swarbick, Andrew, ed. The Art of Oliver Goldsmith. London: Vision Press. 1984.

Shakespeares Othello - The Triangle Between Othello, Iago, and Cassio :: GCSE English Literature Coursework

The Triangle Between Othello, Iago, and Cassio  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   I chose to look at the triangle between Othello , Iago, and Cassio because these three men are very important in the play. They are important to each other and the people around them. The relationship between the three of them is very strange because someone is always trying to get back at the other one and they don’t care about each others feelings or anyone else’s. In the end this leads to a blood shed fight. Othello is the main character, heÕs the head of the Vinician army and he has just made Cassio his Lieutenant. Iago is very upset by this because he wanted to become Lieutenant but what he doesnÕt realize is that in some ways heÕs more important to Othello just without the title. Iago is OthelloÕs right hand man but Iago canÕt take that he wants more. The main problem that IÕve noticed in this play is a lack of communication and trust between the characters. Even though Iago must figure out a way to get get this position as Lieutenant I donÕt think he hateÕs Cassio or Othello. Iago is a very power hungry character and he will do anything and hurt anyone to get what he wants. Iago just canÕt understand how he could be chosen over someone who is very naive, but he never even asked Othello why he wasnÕt chosen as Lieutenant. Maybe Othello had a good reason for not giving him that position and he may have had another position waiting for Iago. Being in this situation leaves Iago to be jealous of Cassio and very angry with Othello, and the question WHY? ( But Iago never asks this question) Othello is a very strong will and minded character but also very naive in believing everything that Iago tells him. His other weakness is the love he has for his wife Desdemona. Othello being head of an army, I would assume would not be so gullible to believe everything he hears. But then you also have to look at who its coming from his Ã’right hand manÓ , but even so wouldnÕt you search around and try to find out for yourself whether or not all these accusations are true. Othello trusts Iago to much and doesnÕt really think for himself, he automatically believes in Iago which gives Iago even more power and control over his mind.

Pepsi and Heineken Commercials: Promoting American Devotion and Compas

Pepsi and Heineken Commercials: Promoting American Devotion and Compassion Today’s commercials cloud the viewers’ brains with meaningless ritzy camera angles and beautiful models to divert viewers from the true meaning of the commercials. The advertisers just want consumers to spend all of their hard-earned money on their brand of products. The â€Å"Pepsi† and â€Å"Heineken† commercials are perfect examples of what Dave Barry is trying to point out in his essay, â€Å"Red, White and Beer.† He emphasizes that commercial advertisements need to make viewers think that by choosing their brands of products, viewers are helping out American society. As Rita Dove’s essay â€Å"Loose Ends† argues, people prefer this fantasy of television to the reality of their own lives. Because viewers prefer fantasy to reality, they become fixated on the fantasy, and according to Marie Winn in â€Å"Television Addiction,† this can ultimately lead to a serious addiction to television. But, one must admit that the cle ver tactics of the commercial advertisers are beyond compare. Who would have thought the half naked-blondes holding soda cans and American men refusing commitment would have caught viewers’ attention? Try to visualize a slim blonde at the ripe age of nineteen coming in closer and closer on the television screen. She’s wearing a tube top and hip hugger jeans with a belly ring that reads â€Å"Pepsi.† She slowly spins around, grabs a can of Pepsi and drinks it in slow motion while her diamond bracelet glistens in the lights. The music stops. She turns to the camera, smiles, winks at you, and tells you to go out and try a nice cool refreshing can of Pepsi Cola. The next commercial to come on shows a man sitting down on the couch with his girlfriend s... ...ics television advertisements. When such a significant line is blurred when do we draw it back on? Do we wait until we see the serious effects of this problem? When do we deem television addiction as serious? Advertisers want viewers to spend their hard-earned money on their brands. Therefore, they have devised elaborate commercials to lure consumers into their trap and once they have gotten their patronage, it is hard to say if they will ever let them go. So, watch out. Works Cited Barry, David. â€Å"Red, White and Beer† The McGraw-Hill Reader. 8th ed. Ed. Gilbert Muller, New York: McGraw-Hill, 2003. 519-521 Dove, Rita. â€Å"Loose Ends† The McGraw-Hill Reader. 8th ed. Ed. Gilbert Muller, New York: McGraw-Hill, 2003. 503-504 Winn, Marie. â€Å"Television Addiction† The McGraw-Hill Reader. 8th ed. Ed. Gilbert Muller, New York: McGraw-Hill, 2003. 505-507

Gun Control Laws

Guns are extremely powerful weapons. They can cause destruction, harm or even death. They can be used to defend and protect or threaten and kill. Any way you look at it, guns are powerful tools not only physically but socially. As college students it is important to stay abreast of the current events and issues circulating our country today, one of which is the controversial issue of gun control. It is extremely important to pay attention to where gun control laws are headed. The directions they take not only affect our nation and society but our future as well as we all move to communities and begin to rise.One of the most controversial issues in our society is gun control legislation. Violence associated with guns is increasing every year and something must be done to stop it. Gun legislation varies in every state in some states gun policy is stricter than in other states. Gun legislation should be abolished in favor of federal gun legislation. To examine the issue with gun violenc e today we must understand the gun laws that are in effect. The gun legislation in the United States is mostly based on a state level. One federal law for example prohibits the manufacture of all plastic guns.The federal government tightly restricts fully automatic guns. Most manufactures stamp serial numbers for law purposes. The government also has regulation on importation on guns brought into the country. Also, most states restrict the purchasing of long guns the age of 18 and 21 for the purchase of hand guns. Most states prohibit the purchase of guns if you are; a convicted felon, alcoholic, drug addict and mentally ill person, alien, or a fugitive from justice. Some laws required prospective gun buyers, to get a purchase permit which comes with applicant posing background checks.A few states even require that all persons possessing guns must have license to do so, even in their homes. Some states do not ban guns from addicts this is a problem. At in the course of the crime eit her by the police or by the victim. The likelihood of social disapproval could be a negative factor. It has been known that one half of every household has at least one gun. If you restrict a victim‘s options on limiting households guns, crime could rise highly. This new policy on gun control should help lead our nation in the right direction.The massacre at the empire state building was an example of how our gun control legislation must be changed. The new federal gun legislation will provide equality among all states. Criminals will not have the option of buying a gun in a state with weak gun legislation. This new policy on gun legislation will cut down on violence dramatically. The issue of guns and gun control takes on a proportion of extreme magnitude. Weighting the rights and liberties of the individuals against the welfare and safety of the public has always been a precarious balancing act.In the United States, gun control sides firmly entrenched in their positions. Tho se parties in favor of gun ownership and the provision for such rights are in the constitution. In this climate of growing violence, rife with turmoil and crime, gun advocates feel more than ever that their position is justified. As citizens of the â€Å"Land of the free†. Possessing a gun is a fundamental right and may even be a necessity. Anti –gun lobbyists point to the same growing violence and gun related crimes in effort.The political approach on gun control deals with the issue of laws and political organization that surround the debate. The government is where the critical laws are made concerning gun control, which in turn affects the entire country. And therefore is important to look at as a key player in the debate. There are two major sides or parties in the political arena that are lobbying either for or against gun control. These two would of course be the Democrats and the Republicans, the two dominating parties in the country today.The republicans have long been supporters of the pro-gun movement, largely due to both their conservative nature as well as an increased backing over the years by the National Rifle Association, a powerful force in the pro-gun movement. During the elections the NRA gave 92% of its congressional campaign contributions the republicans giving the party ample ammo to promote their cause. Democrats are known to be largely for gun control but as public support has waned , in part due to an increase in gun sales the 9/11 attacks so has the Democrats enthusiasms to bring the issue.This is an important question to everyone involved in the issue and extremely important to society as a whole. Guns play a role in everyone‘s lives to some degree, whether it be your own possession of hunting rifle, or a pistol in the hands of a youth in your neighborhood we as Americans values our rights to freedoms granted to us by our forefathers , which includes the possession of firearms as stated in the second amendment. A s citizens we must ask ourselves, do we really want gun control laws which are created to protect us, to take away our basic rights as citizens? Gun Control Laws

Last Sacrifice Chapter Twenty-eight

I STOPPED BREATHING. WE'D each had our own blankets, but even in the middle of summer, the temperature had dropped during the night. Dimitri, in his sleep, had rolled over against me, merging our blankets into one pile and resting his head on my chest. His body lay against mine, warm and familiar, and he even snuggled a little closer. He was more exhausted than I'd realized if he was doing this in his sleep. After all, this was the guy who slept with one eye open. But his guard was down now, his body unconsciously seeking †¦ what? Simple warmth? Me? Damn it. Why had I asked Sonya my question? Why couldn't I keep going with my easy role as Adrian's girlfriend and Dimitri's friend? Because honestly, I wasn't doing a very good job at either one right now. Tentatively, fearfully, I shifted slightly so that I could put one arm around Dimitri and draw him closer. I knew it was a risk, one that might wake him and break this spell. But it didn't. If anything, he seemed to relax more. Feeling him like that †¦ holding him †¦ it churned up a swarm of emotions within me. The ache I had felt since his loss burned within me. At the same time, holding him like this also seemed to fill that ache, as though a piece of me that had been missing was now restored. I hadn't even realized that piece was missing. I'd blocked it all out until Sonya's words had shaken my fragile new acceptance of life. I don't know how long I stayed like that with Dimitri. It was long enough that the rising sun began to illuminate the tent's translucent fabric. That was all the light my eyes needed to now see Dimitri, to see the finely carved lines of his face and softness of his hair as he lay against me. I wanted so badly to touch that hair, to see if it felt like it used to. That was a silly sentiment, of course. His hair wouldn't have changed. Still †¦ the urge was there, and I finally gave in, gently running my fingers over some stray locks. They were smooth and silky, and that barest touch sent chills through me. It also woke him up. His eyes opened, instantly alert. I expected him to jump away from me, but instead, he only assessed the situation–and didn't move. I left my hand where it was on the side of his face, still stroking his hair. Our gazes locked, so much passing between us. In those moments, I wasn't in a tent with him, on the run from those who regarded us as villains. There was no murderer to catch, no Strigoi trauma to overcome. There was just him and me and the feelings that had burned between us for so long. When he did move, it wasn't to get away. Instead, he lifted his head so that he looked down at me. Only a few inches separated us, and his eyes betrayed him. He wanted to kiss me–and I wanted him to. He leaned over me, one hand resting against my cheek. I readied myself for his lips–I needed them–and then he froze. He pulled back and sat up, exhaling in frustration as he looked away from me. I sat up as well, my breathing rapid and shallow. â€Å"Wh-what's wrong?' I asked. He glanced back at me. â€Å"Pick. There are lots of choices.' I ran a finger along my lips. So close. So, so close. â€Å"I know †¦ I know things have changed. I know you were wrong. I know you can feel love again.' His mask was back up as he formulated his answer. â€Å"This isn't about love.' The last minute replayed in my head, that perfect connection, the way he'd looked at me and made my heart feel. Hell, Sonya claimed we even had some mystical connection. â€Å"If it's not about love, then what is it about?' I exclaimed. â€Å"It's about doing the right thing,' he said quietly. The right thing? Right and wrong had been perennial topics at St. Vladimir's. I wasn't eighteen. He was my teacher. We were slated to be Lissa's guardians and had to give her our full attention. All of those were arguments for why staying apart had been necessary back then. But those had long since fallen by the wayside. I would have questioned him more–if someone hadn't scratched at our door. Both of us sprang up and apart, reaching for the stakes we'd slept near. Grabbing my stake was instinct because I knew there was no Strigoi out there. But lately, Strigoi had been the least of our worries. â€Å"Rose? Dimitri?' The voice was barely audible–but familiar. Relaxing slightly, I unzipped the tent's entrance and revealed Sonya kneeling in front of it. Like us, she wore the same clothes from earlier, and her auburn hair was messy. Otherwise, she seemed to have escaped her pursuers unscathed. I scooted aside so that she could enter. â€Å"Cozy,' she said, glancing around. â€Å"You've got the farthest spot out on the campground. Took me forever to find the car you described.' â€Å"How'd you get here?' I asked. She winked. â€Å"You're not the only ones who can steal cars. Or, in my case, get people to â€Å"willingly' lend them.' â€Å"Were you followed?' asked Dimitri. He was all seriousness again, with no sign of what had passed moments ago. â€Å"Not that I could tell,' she said, shifting into a cross-legged position. â€Å"A couple guardians followed me back in the neighborhood, but I lost them a while ago. Most of them seemed more interested in you two.' â€Å"Imagine that,' I muttered. â€Å"Too bad Victor was long gone–he might have taken priority.' â€Å"He didn't kill a queen,' she said ruefully. We'd had to eventually tell her why Victor was wanted and that he'd been the one Sonya had sensed was stalking Lissa back at St. Vladimir's. â€Å"But the good news is I know where they're at now.' â€Å"Where?' asked Dimitri and I in unison. A small, knowing smile came to her lips at that. â€Å"West Michigan,' she said. â€Å"They took off in the opposite direction from Court.' â€Å"Damn,' I muttered. Dimitri and I had gone southeast from Ann Arbor, clipping the Detroit suburbs and just crossing into Ohio. We'd picked the wrong direction. â€Å"But you saw Jill? Is she okay?' Sonya nodded. â€Å"Fine. Scared, but fine. She described enough landmarks that I think we can locate their motel. I found her in a dream a couple hours ago; they had to rest. Victor wasn't feeling well. They might still be there.' â€Å"Then we need to leave now,' said Dimitri, instantly in action. â€Å"Once they're moving, Jill will be awake and out of contact.' We packed up our campsite with amazing speed. My ankle felt better but was still sore. Noticing my limp, Sonya called a halt just before we got in her car. â€Å"Hang on.' She knelt before me, examining the swelling ankle that was easily exposed by my torn dress. Taking a deep breath, she rested her hands on me, and a surge of electricity shot through my leg, followed by waves of heat and cold. When it was over and she stood up, the pain and swelling were gone, as were the scrapes on my legs. Probably the cuts on my head too. Spirit users had healed me so often that you'd think I'd be used to it, but it was still a little startling. â€Å"Thank you,' I said. â€Å"But you shouldn't have done that †¦ shouldn't have used the magic †¦' â€Å"You need to be in peak condition,' she said. Her gaze drifted from me, staring off at the trees. â€Å"And the magic †¦ well, it's hard to stay away from.' Indeed it was, and I felt guilty that she was using it on me–and moving closer to insanity. Robert's restoration had healed her mind a little, and she needed to take advantage of that. This was no time for a lecture, though, and Dimitri's expression told me he too thought it best I get back in shape. We took off toward where Sonya told us Jill was, and this time, her directions were as specific as she could make them. No more vagueness or binding promises. We stopped once to â€Å"acquire' a new car and get a map. The info Sonya had gleaned from Jill led us to a town called Sturgis. While it was in the western half of Michigan, it was also south–meaning the distance wasn't quite as long as we'd expected. Nonetheless, Dimitri drove at least fifteen miles per hour over the speed limit the whole time. â€Å"There,' said Sonya, as we rolled into downtown Sturgis–which wasn't much of a downtown. We were near a modest-looking motel on a side street. â€Å"That's what she described. The Sunshine Motel.' Dimitri pulled into the lot behind the building, and we all sat there, staring at the motel, which didn't look as cheerful as its name. Like me, I presumed my companions were trying to figure out how to approach this. Jill's dream info had gotten us here, but Sonya had nothing else to help us find their room–if they were even still here. They certainly wouldn't have checked in under real names. I was going to suggest we just walk past the doors and hope Sonya would sense Robert when she suddenly pointed. â€Å"That's their car,' she said. â€Å"They're here.' Sure enough. There was the CR-V we'd taken to Jill's house. Talk about karma. I'd swiped Victor's keys, and he'd repaid the favor by taking ours. None of us had thought much about his escape vehicle in the ensuing chaos. â€Å"Sloppy,' murmured Dimitri, eyes narrowed thoughtfully. â€Å"They should have switched cars.' â€Å"That's Sydney's,' I pointed out. â€Å"It's not technically stolen, so it's not on any police lists. Besides, something tells me Victor and Robert aren't hot-wiring pros like some people are.' We'd left a string of stolen cars across the Midwest. Dimitri nodded, like I'd actually just complimented him. â€Å"Whatever the reason, it helps us.' â€Å"How do we find them?' asked Sonya. I was about to suggest the aura plan but dismissed it. Robert would sense Sonya at the same moment, giving him brief warning. Plus, when we found the brothers, there'd likely be a fight. Doing it in the motel would attract attention. This parking lot was in back, away from the main road. â€Å"We wait,' I said. â€Å"It's amazing enough that they even stopped this long. If they have any sense, they'll leave soon.' â€Å"Agreed,' said Dimitri, catching my eyes. Souls in sync. The memory of that near-kiss returned, and I looked away, fearing what my face would betray. â€Å"The lot's easy to defend too. Not much room for escape.' It was true. The motel flanked one side, a concrete wall the other. There weren't many other buildings nearby either. He moved our car to the farthest spot he could in the lot, providing us with a full view of it and the motel's exit–but keeping us semi-concealed. We considered sitting in the car, but Dimitri and I decided we should wait outside, giving us more mobility. We left Sonya inside. This wasn't her fight. Standing behind the car with Dimitri, in the shadow of a leafy maple, I became acutely aware of his proximity and fierce warrior stance. He might be missing his duster, but I had to admit I liked the view of him I got without the coat. â€Å"I don't suppose,' I said softly, â€Å"that we're going to talk about this morning?' Dimitri's eyes were fixed so hard on the CR-V that he might have been trying to make Jill and the brothers materialize inside it. I wasn't fooled. He was just avoiding looking at me. â€Å"There's nothing to talk about.' â€Å"I knew you'd say that. Actually, it was a toss-up between that and â€Å"I don't know what you're talking about.† Dimitri sighed. â€Å"But,' I continued, â€Å"there is something to talk about. Like when you almost kissed me. And what did you mean about â€Å"the right thing'?' Silence. â€Å"You wanted to kiss me!' It was hard to keep my voice low. â€Å"I saw it.' â€Å"Just because we want something doesn't mean it's right.' â€Å"What I said †¦ it's true, isn't it? You can love, can't you? I realize now that right after the transformation, you really didn't think you could. And you probably couldn't. But things have changed. You're getting yourself back.' Dimitri gave me a sidelong look. â€Å"Yes. Things have changed †¦ and some haven't.' â€Å"Okay, Mr. Enigma. That doesn't help explain the â€Å"right thing' comment.' Frustration filled his features. â€Å"Rose, I've done a lot of bad things, most of which I can never fix or find redemption for. My only choice now, if I want to reclaim my life, is to go forward, stopping evil and doing what's right. And what is not right is taking a woman from another man, a man I like and respect. I'll steal cars. I'll break into houses. But there are lines I will not cross, no matter what I–‘ The motel's back door opening jolted us to attention. It was no wonder my love life was so messed up when the most profound and intimate moments were always being interrupted by dire situations. It was just as well because I had never, ever seen that line coming: What is not right is taking a woman from another man, a man I like and respect. New drama took precedence. Victor stepped outside, with Robert and Jill walking side by side behind him. I'd half expected to see her tied up and was surprised that she accompanied them so calmly. Too calmly, I soon realized. It wasn't natural. There was an almost robotic feel to her movements: she was being compelled into docility. â€Å"Compulsion,' said Dimitri quietly, recognizing it as well. â€Å"Go for Victor. I'll get Robert.' I nodded. â€Å"Jill will run as soon as the compulsion's broken. I hope.' I didn't put it past her to join our fight, which could cause more harm than good. We'd find out soon enough. Mercifully, no one else was around. It was still fairly early in the morning. Dimitri and I sprang out from our hiding spots, crossing the distance of the parking lot in a matter of moments. Two healthy dhampirs could outrace two old Moroi any day. And as crafty as they might be, the brothers hadn't expected us. In my periphery, I just barely saw Dimitri kicking into warrior god mode, fierce and unstoppable. Then, I focused entirely on Victor, throwing my full weight at him and knocking him to the ground. He hit hard against the asphalt, and I pinned him down, slamming my fist into his face and making his nose bleed. â€Å"Well done,' he gasped out. â€Å"I've been wanting to do that for a very long time,' I growled. Victor smiled through the pain and the blood. â€Å"Of course you have. I used to think Belikov was the savage one, but it's really you, isn't it? You're the animal with no control, no higher reasoning except to fight and kill.' I clenched his shirt and leaned him over him. â€Å"Me? I'm not the one who tortured Lissa for my own benefit. I'm not the one who turned my daughter Strigoi. And I'm sure as hell not the one who used compulsion to kidnap a fifteen-year-old girl!' To my disgust, he kept that maddening smile on his face. â€Å"She's valuable, Rose. So, so valuable. You have no idea how much so.' â€Å"She's not an object for you to manipulate!' I cried. â€Å"She's a–ahh!' The ground suddenly rolled up beneath me, a mini-earthquake centered around us. The asphalt bucked up, giving Victor the leverage to push me off. It wasn't a strong push, and I could have easily recovered my balance if not for the ground rippling and surrounding me, rolling like ocean waves to knock me over. Victor was using his earth magic to control the area where I stood. Faint cries of surprise told me others were feeling a little of it, but the magic was clearly focused on me. Not without cost, though. Victor was an old man–an old man I'd just shoved onto asphalt and punched. Pain and fatigue were all over him, and his labored breathing told me wielding magic this powerful–something I'd never seen an earth user do–was pushing every ounce of strength he had left. One good punch. That was all I needed. One good punch would knock him down and take him out of this fight. Only, I was the one being taken down. Literally. Try as I might, my personal earthquake got the best of me, knocking me to my knees. I was still in that stupid dress too, meaning my newly healed legs got scraped again. And once I was down, the asphalt rose around me. I realized Victor was going to ensnare me by creating a stone prison. I couldn't let that happen. â€Å"All that brawn for nothing,' gasped out Victor, sweat pouring off his face. â€Å"It does you no good in the end. Real power is in the mind. In cunning. In controlling Jillian, I control Vasilisa. With Vasilisa, I control the Dragomirs, and from there–the Moroi. That's power. That's strength.' Most of his smug tirade went over me. But part of it stuck: In controlling Jillian, I control Vasilisa. Lissa. I couldn't let him hurt her. I couldn't let him use her. In fact, I couldn't let him use Jill either. Lissa had given me a chotki, which was kind of a cross between a bracelet and a rosary. It was a Dragomir heirloom, bestowed upon those who protected the family. That was my duty: to protect all the Dragomirs. The old guardian mantra rang in my mind: They come first. With skill I didn't know I possessed, I sized up the shaking ground and attempted to stand again. I made it, practically dancing in that parking lot. And as I stared at Victor, I felt what Sonya had warned about: the catalyst. The spark that would ignite the darkness I'd gathered and gathered from Lissa. In looking at him, I saw all the evils of my life in one man. Was that entirely accurate? No, not exactly. But he had hurt my best friend–nearly killed her. He'd toyed with Dimitri and me, complicating what was already a mess of a relationship. He was now trying to control others. When would it end? When would his evil stop? Red and black tinged my vision. I heard a voice call my name–Sonya's, I think. But in that moment, there was nothing else in the world but Victor and my hate for him. I sprang at him, fueled by rage and adrenaline, leaping out of the epicenter of shaking ground that threatened to seize me. Once more, I threw myself at him, but we didn't hit the ground. We'd shifted position slightly, and instead, we hit the concrete wall–with just as much force as I might have thrown a Strigoi. His head bent back at the impact. I heard an odd cracking sound, and Victor slumped to the ground. I immediate dropped down, grabbing his arms and shaking him. â€Å"Get up!' I screamed. â€Å"Get up and fight me!' But no matter how much I shook him or yelled, Victor would not stand. He wouldn't move on his own. Hands grabbed me, trying futilely to pull me away. â€Å"Rose–Rose! Stop. Stop this.' I ignored the voice, ignored the hands. I was all anger and power, wanting– no, needing–Victor to face me once and for all. Suddenly, a strange sensation crept along me, like fingertips across my skin. Let him go. I didn't want to, but for half a second, it seemed like a reasonable idea. I loosened my hold slightly, just enough for those hands to jerk me away. Like that, I snapped out of the haze and realized what had happened. The person who'd pulled me was Sonya, and she'd used a tiny bit of compulsion to get me away and let go of Victor. She was strong enough in her power that she didn't even need eye contact. She held onto me, even though she had to know it was wasted effort. â€Å"I have to stop him,' I said, wriggling from her grasp. â€Å"He has to pay.' I reached for him again. Sonya gave up on physical restraint, appealing to words instead. â€Å"Rose, he has! He's dead. Can't you see that? Dead. Victor's dead!' No, I didn't see that–not at first. All I saw was my blind obsession, my need to get to Victor. But then, her words broke through to me. As I gripped Victor, I felt the limpness in his body. I saw the eyes that looked blankly at †¦ nothing. That crazy, churning emotion in me faded, transforming into shock. My grip slackened as I stared at him and truly understood what she had said. Understood what I had done. Then, I heard a terrible sound. A low wailing broke through the frozen horror in my mind. I glanced back in alarm and saw Dimitri standing with Robert. Robert's arms were pinned behind his back as Dimitri effortlessly held him, but the Moroi was doing everything in his power–and failing–to break free. Jill stood nearby, looking uneasily at all of us, confused and afraid. â€Å"Victor! Victor!' Robert's pleas were muffled by sobs and as useless as my own efforts to get Victor up. I dragged my gaze back down to the body before me, barely believing what I had just done. I'd thought the guardians had been crazy in their reaction to Eddie killing a Moroi, but now, I was starting to understand. A monster like a Strigoi was one thing. But the life of a person, even a person who– â€Å"Get him out of here!' Sonya was so near me that the unexpected exclamation made me wince. She'd been kneeling too but now jumped to her feet, turning toward Dimitri. â€Å"Get him out of here! As far as you can!' Dimitri looked surprised, but the powerful command in her voice drove him to instant action. He began dragging Robert away. After a few moments, Dimitri simply opted to toss the man over his shoulder and cart him off. I would have expected cries of protest, but Robert had fallen silent. His eyes were on Victor's body–their gaze so sharp, so focused that they seemed like they could burn a hole through someone. Sonya, not having my fanciful impression, thrust herself between the brothers and dropped to the ground again, covering Victor's body with her own. â€Å"Get him out of here!' she called again. â€Å"He's trying to bring Victor back! He'll be shadow-kissed!' I was still confused and upset, still appalled at what I'd done, but the danger of what she said hit me hard. Robert couldn't be allowed to bring back Victor back. The brothers were dangerous enough without being bonded. Victor couldn't be allowed to summon ghosts the way I could. Victor had to stay dead. â€Å"Doesn't he have to touch the body?' I asked. â€Å"To finish the bond, yes. But he was wielding tons of spirit just now, calling Victor's soul back and keeping it around,' she explained. When Dimitri and Robert were gone, Sonya told me to help her move the body. We'd made too much noise, and it was a wonder no one had come out yet. Jill joined us, and I moved without really being aware of what I was doing. Sonya found the keys to the CR-V on Victor and flattened the backseats to increase the rear cargo space. We crawled into it, the three of us having to hunch down to stay out of sight. We soon heard voices, people coming to see what had happened. I don't know long they were in the parking lot, only that they mercifully didn't search cars. Honestly? I had few coherent thoughts at all. That rage was gone, but my mind was a mess. I couldn't seem to get a hold of anything concrete. I felt sick and just followed Sonya's orders, staying low as I tried not to look at Victor's body. Even after the voices were gone, she kept us in the car. At last, she exhaled a deep breath and focused on me. â€Å"Rose?' I didn't answer right away. â€Å"Rose?' â€Å"Yeah?' I asked, voice cracking. Her voice was soothing and cajoling. I felt that crawling on my skin again and a need to please her. â€Å"I need you to look at the dead. Open your eyes to them.' The dead? No. My mind felt out of control, and I had enough sense to know bringing ghosts here would be a bad idea. â€Å"I can't.' â€Å"You can,' she said. â€Å"I'll help you. Please.' I couldn't refuse her compulsion. Expanding my senses, I let down the walls I kept around me. They were the walls that blocked me from the world of the dead and the ghosts that followed me around. Within moments, translucent faces appeared before me, some like normal people and others terrible and ghastly. Their mouths opened, wanting to speak but unable to. â€Å"What do you see?' asked Sonya. â€Å"Spirits,' I whispered. â€Å"Do you see Victor?' I peered into the swarm of faces, seeking anyone familiar. â€Å"No.' â€Å"Push them back,' she said. â€Å"Put your walls back up.' I tried to do as she said, but it was hard. I didn't have the will. I felt outside encouragement and realized Sonya was still compelling me. She couldn't make the ghosts disappear, but feelings of support and determination strengthened me. I shut out the restless dead. â€Å"He's gone then,' Sonya said. â€Å"He's either completely consumed by the world of the dead or is wandering as a restless spirit. Regardless, any lingering threads to life are gone. He can't come back to life.' She turned to Jill. â€Å"Go get Dimitri.' â€Å"I don't know where he is,' said Jill, startled. Sonya smiled, but it didn't reach her eyes. â€Å"Close, I'm sure. And watching. Go walk around the motel, the block, whatever. He'll find you.' Jill left, needing no compulsion. When she was gone, I buried my face in my hands. â€Å"Oh God. Oh God. All this time, I denied it, but it's true: I am a murderer.' â€Å"Don't think about that yet,' said Sonya. Her take-charge attitude was almost comforting. Almost. It was easier to take orders than fend for yourself. â€Å"Deal with your guilt later. For now, we have to get rid of the body.' I uncovered my eyes and forced myself to look at Victor. Nausea welled up within me, and those crazy feelings spun even more out of control. I gave a harsh laugh. â€Å"Yes. The body. I wish Sydney was here. But we don't have any magic potions. The sun won't destroy him. Weird, isn't it? Strigoi are harder to kill †¦ harder to kill, easier to clean up.' I laughed again because there was something familiar about my rambling †¦ it was like Adrian in one of his weird moments. Or Lissa when spirit had pushed her to the edge. â€Å"This is it, isn't it?' I asked Sonya. â€Å"The flood †¦ the flood you warned me about. Lissa escaped spirit, but it finally defeated me †¦ just like Anna †¦ just like the dream †¦ oh God. This is the dream, isn't it? But I won't wake up †¦' Sonya was staring at me, her blue eyes wide with †¦ fear? Mockery? Alarm? She reached out and took my hand. â€Å"Stay with me, Rose. We'll push it back.' A knock at the window startled us both, and Sonya let Jill and Dimitri in. â€Å"Where's Robert?' asked Sonya. Dimitri glanced down at Victor and then promptly looked away. â€Å"Unconscious, hidden in some bushes around the corner.' â€Å"Charming,' said Sonya. â€Å"Do you think that's smart? Leaving him?' He shrugged. â€Å"I figured I shouldn't be seen carrying an unconscious guy in my arms. In fact †¦ yes, I think we should just leave him there. He'll wake up. He's not a fugitive. And without Victor, he's †¦ well, not harmless. But less harmful. We can't keep dragging him with us anyway.' I laughed again, that laugh that seemed unhinged and hysterical even to me. â€Å"He's unconscious. Of course. Of course. You can do that. You can do the right thing. Not me.' I looked down at Victor. â€Å"†An animal,' he said. He was right. No higher reasoning †¦' I wrapped my arms around myself, my fingernails digging into my skin so hard they drew blood. Physical pain to make the mental pain go away. Wasn't that what Lissa had always said? Dimitri stared at me and then turned to Sonya. â€Å"What's wrong?' he demanded. I'd seen him risk his life over and over, but never, until now, had he truly looked afraid. â€Å"Spirit,' said Sonya. â€Å"She's pulled and pulled for so long †¦ and managed to hold it back. It's been waiting, though. Always waiting †¦' She frowned slightly, maybe realizing she was starting to sound like me. She turned to Jill. â€Å"Is that silver?' Jill looked down at the heart-shaped locket around her neck. â€Å"I think so.' â€Å"Can I have it?' Jill undid the clasp and passed it over. Sonya held it between her palms and closed her eyes a moment, pursing her lips. A few seconds later, her eyes opened, and she handed me the locket. â€Å"Put it on.' Just touching it gave me a strange tingling in my skin. â€Å"The heart †¦' I looked at Dimitri as I fastened the clasp. â€Å"Do you remember that? â€Å"Where's the heart?' you asked. And here it is. Here it †¦' I stopped. The world suddenly became crisper. My jumbled thoughts slowly began to move back together, forming some semblance of rationality. I stared at my companions–the living ones–truly seeing them now. I touched the locket. â€Å"This is a healing charm.' Sonya nodded. â€Å"I didn't know if it'd work on the mind. I don't think it's a permanent fix †¦ but between it and your own will, you'll be okay for a while.' I tried not to focus on those last words. For a while. Instead, I tried to make sense of the world around me. Of the body in front of me. â€Å"What have I done?' I whispered. Jill put her arm around me, but it was Dimitri who spoke. â€Å"What you had to.'