Legendary Lycurgus the Lawgiver of Sparta

Legendary Lycurgus the Lawgiver of Sparta Athens had its Solon, the law-giver, and Sparta, its Lycurgus- at least thats what we like to believe. Like the origins of the reforms of Lycurgus, the man himself is wrapped in legend. Plutarch on Lycurgus Rise to Power Plutarch tells the story of Lycurgus as if he had been a real person, albeit an eleventh-generation descendant of Hercules, since the Greeks generally ascribed genealogy that went back to the gods when writing about important figures. In Sparta there were two kings who jointly shared the power. Lycurgus, according to Plutarch, was the younger son of one of these two kings. His older brothers wife was pregnant when both Lycurgus brother and father died, and so, the unborn would have become king- assuming it was a boy- in time. Lycurgus sister-in-law proposed to Lycurgus, saying she would do away with the child if he would marry her. In that way both she and Lycurgus would maintain power in Sparta. Lycurgus pretended to agree with her, but instead of having the child killed after birth, as was a Greek custom, Lycurgus presented the child to the men of Sparta, naming the child and saying that he was their future king. Lycurgus himself was to act as guardian and advisor until the baby ca me of age. Lycurgus Travels to Learn About Law When slander about the motives of Lycurgus got out of hand, Lycurgus left Sparta and went to Crete where he became familiar with the Cretan law code. Plutarch says Lycurgus met Homer and Thales on his travels. Recalled to Sparta, Lycurgus Institutes His Laws (Rhetra) Eventually, the Spartans decided they needed Lycurgus back and persuaded him to return to Sparta. Lycurgus agreed to do so, but first he had to consult with the Delphic Oracle. The advice of the oracle was so well respected that it would add authority to whatever was done in its name. The oracle said that the laws (rhetra) of Lycurgus would become the most famous in the world. Lycurgus Changes Spartas Social Organization With the oracle on his side, Lycurgus instituted changes in the Spartan government and provided Sparta with a constitution. In addition to changes to the government, Lycurgus altered the economy of Sparta, banning ownership of gold or silver and useless occupations. All men were to eat together in common mess halls. Lycurgus reformed Sparta socially, too. Lycurgus started the state-run education system, including the training of women, the peculiar non-monogamous Spartan marriages, and the role of the state in deciding which newborn was fit to live. Lycurgus Tricks the Spartans Into Keeping His Laws When it appeared to Lycurgus that all was being done according to his suggestions and that Sparta was on the right track, he told the Spartans that he had one more important mission. Until he returned, they were under oath not to change the laws. Then Lycurgus left Sparta and disappeared forever. That is the (condensed) story of Lycurgus, according to Plutarch. Herodotus also says the Spartans thought the laws of Lycurgus came from Crete. Xenophon says Lycurgus made them up, while Plato says the Delphic Oracle provided them. Regardless of their origin, the Delphic Oracle played an important role in the acceptance of the laws of Lycurgus. The Great Rhetra Heres a passage from Plutarchs Life of Lycurgus on his obtaining an oracle from Delphi about the establishment of his form of government: When thou has built a temple to Zeus Syllanius and Athena Syllania, divided the people into phylai, and divided them into obai, and established a Gerousia of thirty including the Archagetai, then from time to time appellazein between Babyka and Knakion, and there introduce and repeal measures; but the Demos must have the decision and the power.

Should Organisations Have a Mentoring Scheme for all Employees Essay

Should Organisations Have a Mentoring Scheme for all Employees - Essay Example According to Olian, Carol et al (2004), studies show that the age of the mentor and the work experience of the mentee has no effect on the relationship between the two. Mentoring at the organizational level Mentoring literally means to advise or train someone, but at organizational level, mentoring changes meaning. Mentoring at organization levels does not limit itself only to advising and training but to a complex system of employer and employee relationship involving notions of reflection, openness, uncertainty, complexity and restoration. Mentoring is being studied alone from decades, where mentoring in organization is relatively newer research. Mentoring is a precious tool for managing and bringing a change in any organisation. (Conway, 1995). It is also considered as an economical way of transferring knowledge from a specialist to a learner. (Bjorson & Dingsoryr, 2005) According to a research conducted by Trevor, more women proteges than men felt that their thinking and performa nce was inspired by mentoring. Functions of a Mentor The mentor’s role is to act as a guide, provide insight, and also advise a mentee in his/her department to reach the highest potential level. Mentors advise on the basis of their professional and personal experiences and guide the mentee on short/long term basis depending on the company’s policy. The mentee’s performance is not usually catered but through guidance, help and advice, the mentor helps the mentee to provide great insights, fast move learning, and also support and improve any drawback of the mentee. On-the-job relationships between employees and employers have been greatly focused in recent years and great emphasis has been laid. There are two types of mentoring; informal or formal in an organization. Informal developmental relationships occur naturally in the workplace between senior managers, lower managers and, subordinates or peers. A combination of assistance is provided through such relations hips such as feedback, role modelling, counselling, mentoring, coaching, and skill building. Thus it brings lasting benefits to an organization.( Singh, Bains  &Vinnicombe, 2002) However, with the passage of time, informal developmental relationships have declined. This decline is mainly due to changing demographics, introduction of technology, and intense competition. As informal relationships decline, there is a rise in formal mentoring called â€Å"formal developmental relationships†. These are distinguished from informal relationships by the fact that they are assigned, maintained, and monitored by the organization, usually through an established program. An employee can interact with senior manager, peer or external consultant in a formal relationship. Although, nowadays, most organization facilitate on creating and implementing programs that would help relationship between senior and junior managers to get better. This helps the communication, trust, and productivity to rise as both sides of managers feel part of one organization. (Douglas, 2003) Formal mentoring is widely being used in the organizations which are rapidly changing and becoming leaner in hierarchy. This type of mentoring helps in the personal and career development of employees. (Tabbron, Macaulay, Cook, 1997). Prof. Dr. Antal Arriene presented four case studies of formal mentoring

Corporate Governance in The Kingdom of Saudi Arabia Dissertation

Corporate Governance in The Kingdom of Saudi Arabia - Dissertation Example ance and the Role of Auditors in the KSA 26 Synthesis of the Review 28 Chapter 3: Methodology 30 Introduction 30 Research Approach 30 Research Design 30 Specification of Variables 31 Hypotheses 33 Sampling Technique 35 Methods and Materials 36 Reliability and Validity 36 Data-Collection Procedure 36 Ethical Considerations 37 Method of Data Analysis 37 Conclusion 38 Chapter 4: Results and Discussion 39 Introduction 39 Results 39 Discussion 60 Chapter 5: Conclusions and Recommendations 65 Conclusions 65 Recommendations 67 List of Tables Table 1. Independent and Dependent Variables 31 Table 2. Demographic Traits 32 Table 3. Research Questions with Corresponding Alternative Hypotheses 33 Table 4. Descriptive statistics: Evaluations of corporate governance (Internal Auditors) 40 Table 5. Descriptive statistics: Facets of the auditor’s role influenced by corporate governance (Internal Auditors) 42 Table 6. T-test: Facets of the auditor’s role influenced by corporate governanc e (Internal Auditors) 43 Table 7a. Coefficient of determination: Evaluations of corporate governance vs. overall success of corporate governance as regards the auditor’s role (Internal Auditors) 44 Table 7b. One-way ANOVA: Evaluations of corporate governance vs. overall success of corporate governance as regards the auditor’s role (Internal Auditors) 45 Table 7c. Beta coefficients: Evaluations of corporate governance vs. overall success of corporate governance to the auditor role (Internal Auditors) 46 Table 8. Descriptive statistics: Evaluations of corporate governance (External Auditors) 47 Table 9. Descriptive statistics: Facets of the auditor’s role influenced by corporate governance (Internal Auditors) 50 Table 10. T-test: Facets of the auditor’s role influenced by corporate governance... Following the major recent scandals involving accountants and their tendency to restate earnings, as well as the collapse of Enron and WorldCom, various calls for reform have been made, particularly in the field of management, external auditing and corporate governance (Brown 2005; Deakin & Konzelmann 2004). Research that delves into the matter at hand has highlighted the importance of the so-called â€Å"corporate governance mosaic†, which generally emphasises the critical role of the interactions among the important parties involved in financial reporting (Ali 1999). Moreover, researchers have given attention to how the corporate governance initiative of organisations significantly affects the processes related to financial reporting and auditing. It has likewise been argued that the auditors, together with the board of directors, must work hand in hand towards the betterment of the auditing process in accordance with the principles of corporate governance (Cohen, Krishnamoo rthy & Wright 2007; Dewing & Russell 2004). Strong corporate governance positively affects the quality of financial reports in a sense that it minimizes the incidence of fraud, fewer restatements and lower earnings of the management (Cohen et al. 2007). The nature and strength with which organisations carry out their initiatives pertaining to corporate governance significantly affect the audit process. Furthermore, actors involved in the advancement of corporate governance initiatives are also likely to be more responsible in ensuring that financial reporting is of high quality (Abbott, Parker & Peters 2004). Finally, it is also through the proper adoption of the principles of corporate governance that auditors are enabled to solve their disputes with clients. The relationship of corporate governance and the role of the auditors has indeed been the subject of many studies (Abbott, Parker & Peters 2004; International Organisations of Securities Commissions). Additionally, researchers who have undertaken studies in relation to the topic have all underscored the fact that the corporate governance system helps in preventing the collapse of corporations. The relationship between the two is also based on the role of auditors in ensuring the quality of the financial reports (Krishnan n.d.). In view of this, this research aims to look into how corporate governance influences the role of the auditors in the context of companies in the KSA.

Theater Essay Example | Topics and Well Written Essays - 250 words - 2

Theater - Essay Example This paper will also examine how the role played by design elements in theatre has changed in the last 200 years. The various design elements in theatre play the overall role of creating feel desired by the designer. Lighting helps to enable the scenic influence to be highlighted. Without lighting it becomes virtually impossible for the audience to experience the intended scene. Costumes, another essential element of design in theatre, have had their function revised over time. Until the nineteenth century, little attention was paid to costumes. Since then, however, costumes have been given increasing prominence in theatrical performance. The fabric, design, origin, texture, cut, and weight of the costume are all well considered ensuring that the recreation of the era in question is done to perfection (Sheryl and Sianghio). Over the last 200 years, the elements incorporated in designing theatre have changed immensely. Today, new theatres have designs that are flexible and eclectic. Themes from different time spans are incorporated to produce different scenes that promote the delivery of the message. In the renaissance period, for instance, architectural features were relied upon to provide desired scenic elements. Today, however, scenes for theatre are specifically built, and painting is used in order to suit the intended scene. Until renaissance, most performances were carried out outdoors, so lighting was majorly done by the sun. When need arose for alternative means of lighting, oil lamps and candles were used. In the nineteenth century, however, modes of lighting started to change as gas lamps were introduced. Today, floodlights, and spotlights are used (Sheryl and

Catcher In The Rye Essay English Literature Essay

Catcher In The Rye Essay English Literature Essay People  who  shut their eyes  to  reality simply invite their own destruction, and anyone  who  insists  on  remaining  in a  state  of  innocence long after  that  innocence is  dead turns himself into  a  monster (James Baldwin). One cannot hold onto their innocence forever, the longer he or she holds onto it, the more one can lose sight of their selves. In The Catcher in the Rye, by J.D. Salinger, Holden Caulfield struggles in accepting his loss of innocence which leads towards his downfall. Holden is a struggling 16 year-old boy, trying to find his place in the world, a world in which allows him to retain his innocence and as he begins to move towards the adult world, he clings to his innocence in a more urgent desperation. Over the course of three days, the novel follows Holden where he eventually accepts his loss of innocence, but not without going through many struggles along the way first. Through Salingers use of symbols, the reader is able to clearly identify Holdens resistance towards becoming an adult and releasing his innocence. In The Catcher in the Rye, the author uses the Museum of Natural History, the erasing of profanity, and the carousel to reveal that a person cannot avoid his or her loss of innocence and it is difficult to accept that once it is gone, it never comes back. Holden visits his childhood spot, Museum of Natural History, symbolizing a world in which nothing has to change which in turn, Holden wishes could apply to life. While reflecting on his memories from the museum he realizes that the reason he loved it so much was because the way he could count on everything staying the same, The best thing though, in that museum was that everything always stayed right where it was. Nobodyd moveà ¢Ã¢â€š ¬Ã‚ ¦the only thing that would be different is you (Salinger 121). Just like the thought of preserving innocence, Holden revels in the thought of everything staying exactly the same, forever. However, Holden knows he has become different, he acknowledges this in the quote. He realizes that he possesses less innocence than he did the last time he visited the museum. The concept of stability that this quote provides makes it evident that Holden is afraid of becoming different, evolving into an adult with different views than he once held. Deep down, he a dmits that even though certain things can remain the same, he will not. He is slowly beginning to recognize the fact he has lost his innocence for good, but it comes down to his admittance of this. Although, he thinks he can protect himself, the loss of his innocence is inevitable. Holden reflects on the museums consistency and he believes a world where everything could be preserved (even though it would be impossible) would solve many problems that he holds, Certain things they should stay the way they are. You ought to be able to stick them in one of those big glass cases and just leave them alone. I know thats impossible, but its too bad anyways (Salinger 122). Holden longs for a world in which everything can stay the same. Holden wouldnt have to enter the adult world and he would never have to lose his innocence and accept his growing responsibilities in his ideal world. It is implied that some of the certain things Holden might want to preserve is Allie, his deceased brother. I f Allie was put into one of the glass cases, he would never be exposed to his death, he wouldnt have to lose his innocence. Holden recognizes the fact though that this thought is impossible. He knows there is never a way in order to protect the ones he cares about and their innocence. He knows that there is no avoidance in the loss of innocence, but he is only scared to see it will never come back. Holden arrives at the museum, only to be consumed by a feeling that changes his wanting to visit the museum, When I got to the museum, all of a sudden I wouldnt have gone inside for a million bucks (Salinger 122). Holden realizes that if he steps into the museum he will acknowledge the fact he has changed, become different. Holden sees that he has lost his innocence, but he isnt ready to admit that he has lost it for good. Holden chooses to not go into the museum in order to try and avoid his recognition of his loss of innocence. However, eventually, if not the museum something will cause Holden to see reality for what it really is. As a child, Holden held on to the fond, innocent memories of the museum. Now, grown up, he is afraid that if he sees the museum now, his innocent perspective will change forcing him to accept the fact that he has lost his innocence for good. The Museum helps Holden realize the fact that as much as he wishes things could stay the same; he knows life does not work that way. Holdens erasing of the profanity symbolized the corruption of innocence and Holdens strong sense of duty towards the children who would see it, thinking it is his responsibility to be able to preserve all of their innocence, but knowing it is impossible. While visiting Phoebes elementary school, he observes the profanity that is written on the schools wall and is taken aback, Somebodyd written Fuck you on the wall. I thought how Phoebe and all the other little kids would see ità ¢Ã¢â€š ¬Ã‚ ¦If you had a million years to do it in, you couldnt rub out even half the Fuck you signs in the world (Salinger 201). Holden feels that children should not be exposed to anything that has a chance of corrupting their innocence. In this incident, the exposure to the phrase Fuck you creates Holden to believe it is his duty to be the savior to all the children. Although he wants to believe that by erasing all of the Fuck you signs could save childrens innocence, he knows that it is impossible to be able to save every single child. He cannot accept the fact that these children cannot avoid their loss of innocence, just like Holden cant as well. He is worried that if these children see the phrase, they will have no way of retaining their innocence which is already impossible. Again, he comes across another profane expression carved into the schools wall, I saw another Fuck you on the wall. I tried to rub it off with my hand again, but this one was scratched on, with a knife or something. It wouldnt come off (Salinger 202). Holden is beginning to witness that some things, like innocence, cannot be avoided. Some things are unavoidable. Even though he knows that phrase is permanently etched into the wall, he still desperately tries to erase it. This is symbolic of how he desperately tries to preserve his innocence even though he is already becoming different, something that cannot be changed. While the phrase symbolizes another way to corrupt ones innocence, it becomes evident that like the etching, innocence cannot be protected forever. When Holden is at the museum, in the tomb exhibit he sees yet more profanity on the walls, only this time it is written in crayola, Youd never guess what I saw on the wall. Another Fuck you. It was written with red crayon or something, right under the glass part of the window, under the stones (Salinger 204). While Holden is beginning to realize that the Fuck you signs are everywhere, providing many opportunities for the corruption of ones innocence. It is apparent this is symbolically showing that nothing can stop the process of losing ones innocence, it is only natural. The fact that this time, the phrase was written in crayon, it is a hint that this was most likely the work of a child. Holden has been working so hard in order to save these children, he didnt consider that unlike him, they are more willing to lose their innocence and accept the fact that it is gone for good. He is finally becoming aware of the fact that chi ldren are letting go of their innocence and making that transition into adulthood, and he isnt able to control this. At one point, Holden takes Phoebe to a carousel which is symbolic of Holdens new found acceptance towards his loss of innocence and realization that he is not able to save all children from losing their innocence as well. Holden takes Phoebe to a carousel where he encourages her to ride it, without him, Maybe I will next time. Ill watch ya. I went over and sat down on the bench, and she went and got on the carousel (Salinger 211). Holden rejects Phoebes invitation to join her on the carousel, marking Holdens developing maturity. It is becoming noticeable that Holden is slowly starting to show evidence that he is accepting the fact that he knows he has lost his innocence for good. Therefore, he feels it is not necessary to partake in childish activities such as the carousel. He sees Phoebe as the one who is her innocent stage. He has already passed that stage in his life and transition into the adult world, which doesnt include riding on the carousel. Seeing Phoebe reach for the gold ring while on the carousel he begins to realize that he cannot protect children from their growing up, The thing with kids is, if they want to grab for the gold ring, you have to let them do it, and not say anything. If they fall off, they fall off, but its bad if you say anything to them (Salinger 211). The gold ring is what children would literally reach for once their horse passed under it on the carousel. Symbolically, Holden is accepting that growing up is a part of life, something that cannot be avoided. He is admitting that losing ones innocence is a part of growing up and a child cannot be protected from it forever. He realizes that adults must let children reach for their own gold rings; their dreams, hopes, and wants. Holden is acknowledging that he has to be the adult; he cannot be that child forever. Holden continues to watch Phoebe ride the carousel and is overwhelmed with happiness seeing her enjoy herself in her youth, It was just she looked so damn nice, the way she kept going around and around, in her blue coat and all (Salinger 213). Holden is seeing innocence incarnated, through Phoebe. Phoebes circling on the carousel represents seeing her innocence circling. Holden is accepting his loss of innocence and transitioning into the adult world. Watching Phoebe was almost a moment of truth for him, he realizes that one cannot avoid the loss of sense forever. He knows that eventually Phoebe will have to lose her innocence eventually but she doesnt have to yet. Holden thinks it is nice seeing Phoebe not worrying about her loss of innocence and he accepts the adult world for himself in this moment. Seeing and experiencing Phoebe on the carousel and seeing her in her innocence, Holden knows it is his time to move on, his innocence and innocent stage has come and gone and it will never come back. Learning to accept the loss of ones innocence is and to face the reality of it can be difficult for some. Through Holdens story, Salinger reveals that although it is understandable to try to protect ones innocence, it is only a foolish notion. Even in todays world, some struggle with accepting their loss of innocence. The loss of innocence can be related to taking that first sip of alcohol, or taking that first hit of marijuana. For young girls and boys, losing their virginity is an example of them giving away their innocence in an intimate act. Once some takes a drink, a smoke, or has sex, there is no going back, just like there is one cannot regain their innocence. Although these are examples of ways one can lose their innocence, it is much more complex than this. The losing of innocence marks the gradual change into the adult world where one is unable to access their childhood memories and youth. It is when one becomes an adult and fully matures that one loses his or her innocence . When one learns to accept the loss of innocence, it is then that they mark the turning point in their lives. Innocence is usually associated with ignorance and youth, so by losing this, one is accepting wisdom and adulthood. One is able to transition into the next part of their lives without the extra baggage of trying to retain their childhood. Although yearning for innocence is natural even in some ways perhaps good at some point, everyone has to face the realm of adulthood and venture into it, without the aid of their innocence to accompany them any longer.

Free Essays - Alices Adventures in Wonderland Essays :: Alices Adventures in Wonderland Essays

In Lewis Carroll's novel Alice in Wonderland, Alice is curious, well-mannered, and confused while she tries to find her way out of Wonderland. Alice meets many unique and weird creatures which eventually help her escape wonderland. Alice shows that she is curious through her actions. At the beginning of the book Alice gets distracted from her "boring" work, and chases a white rabbit down a hole. This excerpt describes Alices curiosity, "Alice started to her feet, for it flashed in her mind that she had never before seen a rabbit with either a waistcoat-pocket". When Alice is at the bottom of the hole she find a bottle labeled "Drink Me", she wants to see what it tastes like, this excerpt describes the event "...this bottle was not marked `poison', so Alice ventured to taste it, finding it very nice". Another instant that shows her curiosity when she looks for the white rabbits fan and gloves, she finds a bottle, this time there was no table, "There was no label this time with the words `Drink Me' ... `I know something interesting is going to happen' ... ` I'll just see what it does',". Alice is like a little girl that is still exploring the world around her, but she finds that she is more mature than the creatures in Wonderland. Alice is very well mannered in Victorian ways to the creatures of Wonderland. Alice shows her good manners when she enters the white rabbits house and the rabbit tells Alice to go fetch his gloves and fan, "I'd better take his fan and gloves- that is if I can find them", since Alice is a guest, uninvited, she follows the owners orders. When Alice runs into caterpillar she calls him "Sir", here is an excerpt from the book , " I can't explain myself myself, I'm afraid, Sir", this shows that she respects the creatures of Wonderland. When Alice enters the Duchesses house and the Duchess throws the baby to Alice, Alice starts to take care of it, " `Here! You may nurse it a bit, if you like!' Alice caught the baby with some difficulty ...", this shows her maternal side. Wonderland is an illogical land, nothing seems to make sense to Alice. She starts to become very frustrated and confused. When Alice meets the caterpillar the following conversation takes place, " `Who are you!' the caterpillar asked ... `I - I hardly know, Sir, just at present - at least I know who I was when I got up this morning' ... ", Alice is so confused she does not even know who she is.

The Vampire Diaries: The Awakening Chapter Ten

October 7, about 8:00 a.m. Dear Diary, I'm writing this during trig class, and I just hope Ms. Halpern doesn't see me. I didn't have time to write last night, even though I wanted to. Yesterday was a crazy, mixed-up day, just like the night of the Homecoming Dance. Sitting here in school this morning I almost feel like everything that happened this weekend was a dream. The bad things were so bad, but the good things were so very, very good. I'm not going to press criminal charges against Tyler. He's suspended from school, though, and off the football team. So's Dick, for being drunk at the dance. Nobody is saying so, but I think a lot of people think he was responsible for what happened to Vickie. Bonnie's sister saw Tyler at the clinic yesterday, and she said he had two black eyes and his whole face was purple. I can't help worrying about what's going to happen when he and Dick get back to school. They have more reason than ever to hate Stefan now. Which brings me to Stefan. When I woke up this morning I panicked, thinking, â€Å"What if it all isn't true? What if it never happened, or if he's changed his mind?† And Aunt Judith was worried at breakfast because I couldn't eat again. But then when I got to school I saw him in the corridor by the office, and we just looked at each other. And I knew. Just before he turned away, he smiled, sort of wryly. And I understood that, too, and he was right, it was better not to go up to each other in a public hallway, not unless we want to give the secretaries a thrill. We are very definitely together. Now I just have to find a way to explain all this to Jean-Claude. Ha-ha. What I don't understand is why Stefan isn't as happy about it as I am. When we're with each other I can feel how he feels, and I know how much he wants me, how much he cares. There's an almost desperate hunger inside him when he kisses me, as if he wants to pull the soul out of my body. Like a black hole that. Still October 7, now about 2:00 p.m. Will, a little break there because Miss Halperncaught me. She even started to read what I'd written out loud, but then I think the subject matter steamed her glasses up and she stopped. She was Not Amused. I'm too happy to care about minor things like flunking trigonometry. Stefan and I had lunch together, or at least we went off into a corner of the field and sat down with my lunch. He didn't even bother to bring anything, and of course as it turned out I couldn't eat either. We didn't touch each other much-we didn't-but we talked and looked at each other a lot. I want to touch him. More than any boy I've ever known. And I know he wants it, too, but he's holding back on me. That's what I can't understand, why he's fighting this, why he's holding back. Yesterday in his room I found proof positive that he's been watching me from the beginning. You remember how I told you that on the second day of school Bonnie and Meredith and I were in the cemetery? Well, yesterday in Stefan's room I found the apricot ribbon I was wearing that day. I remember it falling out of my hand while I was running, and he must have picked it up and kept it. I haven't told him I know, because he obviously wants to keep it a secret, but that shows, doesn't it, that he cares about m e? I'll tell you someone else who is Not Amused. Caroline. Apparently she's been dragging him off into the photography room for lunch every day, and when he didn't show up today she went searching until she found us. Poor Stefan, he'd forgotten about her completely, and he was shocked at himself Once she left-a nasty unhealthy shade of green, I might add-he told me how she'd attached herself to him the first week of school. She said she'd noticed he didn't really eat at lunch and she didn't either since she was on a diet, and why didn't they go someplace quiet and relax? He wouldn't really say anything bad about her (which I think is his idea of manners again, a gentleman doesn't do that), but he did say there was nothing at all between them. And for Caroline I think being forgotten was worse than if he'd thrown rocks at her. I wonder why Stefan hasn't been eating lunch, though. It's strange in a football player. Uh-oh. Mr. Tanner just walked by and I slammed my note pad over this diary just in time. Bonnie is snickering behind her history book, I can see her shoulders shaking. And Stefan, who's in front of me, looks as tense as if he's going to leap out of his chair any minute. Matt is giving me â€Å"you nut† looks and Caroline is glaring. I am being very, very innocent, writing with my eyes fixed on Tanner up front. So if this is a bit wobbly and messy, you'll understand why. For the last month, I haven't really been myself. I haven't been able to think clearly or concentrate on anything but Stefan. There is so much I've left undone that I'm almost scared. I'm supposed to be in charge of decorations for the Haunted House and I haven't done one thing about it yet Now I've got exactly three and a half weeks to get it organized-and I want to be with Stefan. I could quit the committee. But that would leave Bonnie and Meredith holding the bag. And I keep remembering what Matt said when I asked him to get Stefan to come to the dance: â€Å"You want everybody and everything revolving around Elena Gilbert.† That isn't true. Or at least, if it has been in the past, I'm not going to let it be true anymore. I want-oh, this is going to sound completely stupid, but I want to be worthy of Stefan. I know he wouldn't let the guys on the team down just to suit his own convenience. I want him to be proud of me. I want him to love me as much as I love him. â€Å"Hurry up!† called Bonnie from the doorway of the gym. Beside her the high school janitor, Mr. Shelby, stood waiting. Elena cast one last glance at the distant figures on the football field, then reluctantly crossed the blacktop to join Bonnie. â€Å"I just wanted to tell Stefan where I was going,† she said. After a week of being with Stefan, she still felt a thrill of excitement just saying his name. Every night this week he'd come to her house, appearing at the door around sunset, hands in pockets, wearing his jacket with the collar turned up. They usually took a walk in the dusk, or sat on the porch, talking. Although nothing was said about it, Elena knew it was Stefan's way of making sure they weren't alone together in private. Since the night of the dance, he'd made sure of that. Protecting her honor, Elena thought wryly, and with a pang, because she knew in her heart that there was more to it than that. â€Å"He can live without you for one evening,† said Bonnie callously. â€Å"If you get talking to him you'll never get away, and I'dlike to get home in time for some kind of dinner.† â€Å"Hello, Mr. Shelby,† said Elena to the janitor, who was still patiently waiting. To her surprise, he closed one eye in a solemn wink at her. â€Å"Where's Meredith?† she added. â€Å"Here,† said a voice behind her, and Meredith appeared with a cardboard box of file folders and note pads in her arms. â€Å"I've got the stuff from your locker.† â€Å"Is that all of you?† said Mr. Shelby. â€Å"All right, now, you gals leave the door shut and locked, you hear? That way nobody can get in.† Bonnie, about to enter, pulled up short. â€Å"You're sure there's nobodyalready in?† she said warily. Elena gave her a push between the shoulder blades. â€Å"Hurry up,† she mimicked unkindly. â€Å"I want to get home in time for dinner.† â€Å"There's nobody inside,† said Mr. Shelby, mouth twitching under his mustache. â€Å"But you gals yell if you want anything. I'll be around.† The door slammed shut behind them with a curiously final sound. â€Å"Work,† said Meredith resignedly, and put the box on the floor. Elena nodded, looking up and down the big empty room. Every year the Student Council held a Haunted House as a fund-raiser. Elena had been on the decorating committee for the last two years, along with Bonnie and Meredith, but it was different being chairman. She had to make decisions that would affect everyone, and she couldn't even rely on what had been done in years past. The Haunted House was usually set up in a lumberyard warehouse, but with the growing uneasiness about town it had been decided that the school gym was safer. For Elena, it meant rethinking the whole interior design, and with less than three weeks now until Halloween. â€Å"It's actually pretty spooky here,† said Meredith quietly. And therewas something disturbing about being in the big closed room, Elena thought. She found herself lowering her voice. â€Å"Let's measure it first,† she said. They moved down the room, their footsteps echoing hollowly. â€Å"All right,† said Elena when they had finished. â€Å"Let's get to work.† She tried to shake off her feeling of uneasiness, telling herself that it was ridiculous to feel unsettled in the school gym, with Bonnie and Meredith beside her and an entire football team practicing not two hundred yards away. The three of them sat on the bleachers with pens and notebooks in hand. Elena and Meredith consulted the design sketches for previous years while Bonnie bit her pen and gazed around thoughtfully. â€Å"Well, here's the gym,† said Meredith, making a quick sketch in her notebook. â€Å"And here's where the people are going to have to come in. Now we could have the Bloody Corpse at the very end†¦ By the way, who's going to be the Bloody Corpse this year?† â€Å"Coach Lyman, I think. He did a good job last year, and he helps keep the football guys in line.† Elena pointed to their sketch. â€Å"Okay, we'll partition this off and make it the Medieval Torture Chamber. They'll go straight out of that and into the Room of the Living Dead†¦Ã¢â‚¬  â€Å"I think we should have druids,† said Bonnie abruptly. â€Å"Have what?† said Elena, and then, as Bonnie started to yell â€Å"droo-ids,† she waved a quelling hand. â€Å"All right, all right, I remember. But why?† â€Å"Because they're the ones who invented Halloween. Really. It started out as one of their holy days, when they would build fires and put out turnips with faces carved in them to keep evil spirits away. They believed it was the day when the line between the living and the dead was thinnest. And they were scary, Elena. They performed human sacrifices. We could sacrifice Coach Lyman.† â€Å"Actually, that's not a bad idea,† said Meredith. â€Å"The Bloody Corpse could be a sacrifice. You know, on a stone altar, with a knife and pools of blood all around. And then when you get really close, he suddenly sits up.† â€Å"And gives you heart failure,† said Elena, but she had to admit itwas a good idea, definitely scary. It made her feel a little sick just thinking about it. All that blood†¦ but it was only Karo syrup, really. The other girls had gone quiet, too. From the boys' locker next door, they could hear the sound of water running and lockers banging, and over that indistinct voices shouting. â€Å"Practice is over,† murmured Bonnie. â€Å"It must be dark outside.† â€Å"Yes, and Our Hero is getting all washed up,† said Meredith, cocking an eyebrow at Elena. â€Å"Want to peek?† â€Å"I wish,† said Elena, only half jokingly. Somehow, indefinably, the atmosphere in the room had darkened. Just at the moment shedid wish she could see Stefan, could be with him. â€Å"Have you heard anything more about Vickie Bennett?† she asked suddenly. â€Å"Well,† said Bonnie after a moment, â€Å"I did hear that her parents were getting her a psychiatrist.† â€Å"A shrink? Why?† â€Å"Well†¦ I guess they think that those things she told us were hallucinations or something. And I heard her nightmares are pretty bad.† â€Å"Oh,† said Elena. The sounds from the boys' locker room were fading, and they heard an outside door slam. Hallucinations, she thought, hallucinations and nightmares. For some reason, she suddenly remembered that night in the graveyard, that night when Bonnie had sent them all running from something none of them could see. â€Å"We'd better get back to business,† said Meredith. Elena shook herself out of her reverie and nodded. â€Å"We†¦ we could have a graveyard,† Bonnie said tentatively, as if she'd been reading Elena's thoughts. â€Å"In the Haunted House, I mean.† â€Å"No,† said Elena sharply. â€Å"No, we'll just stick with what we have,† she added in a calmer voice, and bent over her pad again. Once again there was no sound but the soft scratching of pens and the rustle of paper. â€Å"Good,† said Elena at last. â€Å"Now we only need to measure for the different partitions. Somebody's going to have to get in behind the bleachers†¦ What now?† The lights in the gym had flickered and gone down to half power. â€Å"Oh,no ,† said Meredith, exasperated. The lights flickered again, went out, and returned dimly once more. â€Å"I can't read a thing,† said Elena, staring at what now seemed to be a featureless piece of white paper. She looked up at Bonnie and Meredith and saw two white blobs of faces. â€Å"Something must be wrong with the emergency generator,† said Meredith. â€Å"I'll get Mr. Shelby.† â€Å"Can't we just finish tomorrow?† Bonnie said plaintively. â€Å"Tomorrow's Saturday,† said Elena. â€Å"And we were supposed to have this done last week.† â€Å"I'll get Shelby,† said Meredith again. â€Å"Come on, Bonnie, you're going with me.† Elena began, â€Å"We could all go-† but Meredith interrupted. â€Å"If we all go and we can't find him, then we can't get back in. Come on, Bonnie, it's only inside the school.† â€Å"But it'sdark there.† â€Å"It's dark everywhere; it's nighttime. Comeon; with two of us it'll be safe.† She dragged an unwilling Bonnie to the door. â€Å"Elena, don't let anybody else in.† â€Å"As if you had to tell me,† said Elena, letting them out and then watching them go a few paces down the hall. At the point at which they began to merge with the dimness, she stepped back inside and shut the door. Well, this was a fine mess, as her mother used to say. Elena moved over to the cardboard box Meredith had brought and began stacking filing folders and notebooks back inside it. In this light she could see them only as vague shapes. There was no sound at all but her own breathing and the sounds she made. She was alone in the huge, dim room- Someone was watching her. She didn't know how she knew, but she was sure. Someone was behind her in the dark gymnasium, watching.Eyes in the dark , the old man had said. Vickie had said it, too. And now there were eyes on her. She whirled quickly to face the room, straining her own eyes to see into the shadows, trying not even to breathe. She was terrified that if she made a sound the thing out there would get her. But she could see nothing, hear nothing. The bleachers were dim, menacing shapes stretching out into nothingness. And the far end of the room was simply a featureless gray fog. Dark mist, she thought, and she could feel every muscle agonizingly tense as she listened desperately. Oh God, what was that soft whispering sound? It must be her imagination†¦ Please let it be her imagination. Suddenly, her mind was clear. She had to get out of this place,now . There was real danger here, not just fantasy. Something was out there, something evil, something that wanted her. And she was all alone. Something moved in the shadows. Her scream froze in her throat. Her muscles were frozen, too, held motionless by her terror-and by some nameless force. Helplessly, she watched as the shape in the darkness moved out of the shadows and toward her. It seemed almost as if the darkness itself had come to life and was coalescing as she watched, taking on form-human form, the form of a young man. â€Å"I'm sorry if I frightened you.† The voice was pleasant, with a slight accent she couldn't place. It didn't sound sorry at all. Relief was so sudden and complete that it was painful. She slumped and heard her own breath sigh out. It was only a guy, some former student or an assistant of Mr. Shelby's. An ordinary guy, who was smiling faintly, as if it had amused him to see her almost pass out. Well†¦ perhaps not quite ordinary. He was remarkably good-looking. His face was pale in the artificial twilight, but she could see that his features were cleanly defined and nearly perfect under a shock of dark hair. Those cheekbones were a sculptor's dream. And he'd been almost invisible because he was wearing black: soft black boots, black jeans, black sweater, and leather jacket. He was still smiling faintly. Elena's relief turned to anger. â€Å"How did you get in?† she demanded. â€Å"And what are you doing here? Nobody else is supposed to be in the gym.† â€Å"I came in the door,† he said. His voice was soft, cultured, but she could still hear the amusement and she found it disconcerting. â€Å"All the doors are locked,† she said flatly, accusingly. He raised his eyebrows and smiled. â€Å"Are they?† Elena felt another quiver of fear, hairs lifting on the back of her neck. â€Å"They were supposed to be,† she said in the coldest voice she could manage. â€Å"You're angry,† he said gravely. â€Å"I said I was sorry to frighten you.† â€Å"I wasn't frightened!† she snapped. She felt foolish in front of him somehow, like a child being humored by someone much older and more knowledgeable. It made her even angrier. â€Å"I was just startled,† she continued. â€Å"Which is hardly surprising, what with you lurking in the dark like that.† â€Å"Interesting things happen in the dark†¦ sometimes.† He was still laughing at her; she could tell by his eyes. He had taken a step closer, and she could see that those eyes were unusual, almost black, but with odd lights in them. As if you could look deeper and deeper until you fell into them, and went on falling forever. She realized she was staring. Why didn't the lights come on? She wanted to get out of here. She moved away, putting the end of a bleacher between them, and stacked the last folders into the box. Forget the rest of the work for tonight. All she wanted to do now was leave. But the continuing silence made her uneasy. He was just standing there, unmoving, watching her. Why didn't he say something? â€Å"Did you come looking for somebody?† She was annoyed with herself for being the one to speak. He was still gazing at her, those dark eyes fixed on her in a way that made her more and more uncomfortable. She swallowed. With his eyes on her lips, he murmured, â€Å"Oh, yes.† â€Å"What?† She'd forgotten what she'd asked. Her cheeks and throat were flushing, burning with blood. She felt so light-headed. If only he'd stoplooking at her†¦ â€Å"Yes, I came here looking for someone,† he repeated, no louder than before. Then, in one step he moved toward her, so that they were separated only by the corner of one bleacher seat. Elena couldn't breathe. He was standing so close. Close enough to touch. She could smell a faint hint of cologne and the leather of his jacket. And his eyes still held hers-she could not look away from them. They were like no eyes she had ever seen, black as midnight, the pupils dilated like a cat's. They filled her vision as he leaned toward her, bending his head down to hers. She felt her own eyes half close, losing focus. She felt her head tilt back, her lips part. No! Just in time she whipped her head to the side. She felt as if she'd just pulled herself back from the edge of a precipice. What am I doing? she thought in shock. I was about to let him kiss me. A total stranger, someone I met only a few minutes ago. But that wasn't the worst thing. For those few minutes, something unbelievable had happened. For those few minutes, she had forgotten Stefan. But now his image filled her mind, and the longing for him was like a physical pain in her body. She wanted Stefan, wanted his arms around her, wanted to be safe with him. She swallowed. Her nostrils flared as she breathed hard. She tried to keep her voice steady and dignified. â€Å"I'm going to leave now,† she said. â€Å"If you're looking for somebody, I think you'd better look somewhere else.† He was looking at her oddly, with an expression she couldn't understand. It was a mixture of annoyance and grudging respect-and something else. Something hot and fierce that frightened her in a different way. He waited until her hand was on the doorknob to answer, and his voice was soft but serious, with no trace of amusement. â€Å"Perhaps I've already found her†¦ Elena.† When she turned, she could see nothing in the darkness.