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57 pages 1 hour read

Rick Riordan

The Dark Prophecy

Fiction | Novel | Middle Grade | Published in 2017

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Chapters 15-21Chapter Summaries & Analyses

Chapter 15 Summary

Apollo tells Calypso he can steer a toy train since he has driven the sun. However, his attempts to speed up the painfully slow train are unsuccessful. He and Calypso manage to get to the training field of the secret enclosure behind the main zoo. Apollo tells Calypso to be careful of the animals caged behind plexiglass screens since they have been starved and irritated to be at their most savage. From what Apollo remembers of the games of Commodus, the animals will soon be butchered for sport. A horrified Calypso locates the griffins, Abelard and Heloise. Apollo realizes the reason for Britomartis’s urgency to recover the beasts: Heloise, the female, is with egg.

To win the trust of the griffins, Apollo must feed them the tots by hand. He finds the control panel to the plexiglass partitions and lowers the glass in front of the griffins. Calypso and Apollo sing an ancient duet to lull the animals; Apollo recognizes this is the same song his mother Leto would sing for him and Artemis when they were children. Calmed, the griffins allow Calypso and Apollo to feed them. Applause breaks out behind them. Lityerses has arrived at the enclosure.

Chapter 16 Summary

Lityerses is the son of King Midas, the legendary king with the golden touch. He and his father returned to the mortal world in The Heroes of Olympus series after Gaia, the earth mother, opened the Doors of Death. In the series, Leo’s crew killed Midas, but Lityerses survived because he had been turned into a gold statue. Lityerses, who goes by Lit in the mortal world, is known as an expert swordsman. He taunts Calypso that he will keep her alive long enough to kill her in front of Leo. Lit rushes toward Apollo, swinging his sword. Meg saves Apollo, dropping between him and Lit with her curved blades crossed in an x. It becomes clear that Meg—with her power over plants and soil—made the ivy grow and crashed the roof of the train station.

Meg’s sickle-like blades signify her mother, Demeter, the goddess of agriculture. Lit informs Meg that Demeter is also his mother, hence his skill with swords. Meg commands Apollo to leave with the griffins while she tackles Lit. Apollo is forced to obey as Meg is his demigod “master.” Calypso mounts Heloise while Apollo gets on the back of Abelard. Meg and Lit fight furiously. Apollo fires an arrow at the control panel and releases the combat ostriches, who charge at Lit. Apollo grabs Meg, and they fly up, only to be stymied by the net covering the enclosure. Calypso experiences a surge of magic and blasts the net away, the effort draining her. The group escapes.

Chapter 17 Summary

Heloise and Abelard fly the group to the Waystation. Calypso climbs off the griffin and faints in Leo’s arms. Josephine says Calypso has overextended herself magically and takes her to be treated by Emmie at the infirmary. Apollo thanks Meg for saving him and tells her he doesn’t blame her for leaving with Nero. Initially uncomfortable with Apollo’s candor, Meg finally softens and agrees to a truce. In response to Meg’s improved mood, the hay the griffins are eating begins to sprout. Apollo realizes Meg is becoming increasingly powerful.

Britomartis summons the group. As the goddess of nets, Britomartis jumpstarted Calypso’s power to help her blast out of the netted enclosure at the zoo. The surge of magic was too much for Calypso as a mortal and endangered her. Leo is enraged Britomartis would knowingly imperil Calypso, but Emmie and Jo hold him back. With the griffins back safely, Britomartis now reveals to Apollo the way into the palace of Commodus.

Chapter 18 Summary

The main entrance to the palace is hidden under the Soldiers’ and Sailors’ monument, but it must be avoided at all costs as it is heavily guarded. The palace must be entered through an old canal in the city that connects to the palace’s sewers. Emmie will show Meg, Leo, and Apollo the exact place they must enter the canal. The others will ready the Waystation in case of an attack. Britomartis then leaves. Apollo tells everyone the emperor wants to name the city after himself. Meg jokes about the name Commodus sounding like “commode” (175). Apollo asks Meg not to call the emperor by his name as it may reveal the location of the Waystation to Commodus. Meg shouts the name several times in defiance. Apollo is dragged into another vision.

Chapter 19 Summary

Apollo sees himself in ancient Rome, disguised as a mortal called Narcissus, the trusted personal trainer of Commodus. Apollo is part of a plot to kill the emperor. An attempt to poison Commodus has already failed, and the vengeful emperor plans to kill half of Rome in return, including the priests of Apollo. As Narcissus, Apollo tries to dissuade Commodus, but Commodus brushes him off. Apollo has no option but to strangle Commodus to death in his bathtub. A dying Commodus guesses Narcissus’s true identity and mouths, “You. Blessed. Me” (182), referring to the time Apollo gave him his blessing.

In the present, Apollo’s guilt over killing Commodus is magnified by the sudden appearance of Agamethus. Agamethus uses the Magic 8 Ball to indicate they cannot stay at the Waystation much longer. Agamethus vanishes, and Apollo laments he has betrayed many people who loved him, such as Commodus and his son, Trophonius. Josephine comforts Apollo by telling him life allows one to change. Josephine once disguised herself as a man and worked for the gangster Al Capone. Artemis rescued her from a life of crime by making her a Hunter. Later, Josephine left the Hunters to lead a happy mortal life with Emmie. Apollo wonders how giving up immortality can make anyone happy. Jo replies that what matters is not how long one lives but having a purpose for living.

Chapter 20 Summary

The evening before heading for Commodus’s palace, Apollo sings to calm Heloise the griffin while she lays her eggs. The next morning, Jo asks Apollo to wear a tracking device on his ankle through which he can activate a homing beacon in case of an emergency. Apollo, Meg, and Leo take a pedal boat to the sewers. Apollo tells his companions about his assassination of Commodus. Meg says Nero and the third member of the Triumvirate consider Commodus weak, which is why they have him in the middle of their empire. Apollo wonders about the whereabouts of Peaches, the karpos or grain spirit who was Meg’s constant companion. Meg informs him Nero is holding Peaches prisoner to punish her. Apollo promises Meg they will rescue Peaches. Meg spots a creature in the water of the canal.

Chapter 21 Summary

Apollo recognizes the creature as a massive serpent, none other than the legendary Carthaginian Snake, considered virtually indestructible. The enormous serpent closes in on them and upturns the boat. Leo swims toward the grate that is supposed to lead to the sewers under the emperor’s palace and tries to open it. Meg stabs the serpent with her swords but to little effect. The serpent coils around Meg and begins to squeeze her. Leo works the grate open and shouts at the others to get in. Apollo feels a sudden welling of his power. He asks Leo to enter the tunnel and yells at the snake in a deep voice: “Begone, snake. I am Apollo!” (201) The frequency of his voice makes the old walls of the canal crumble and fall on the snake. Apollo grabs Meg and pulls her into the tunnel with him. The grate closes.

Chapters 15-21 Analysis

One of the key features of the novel is its juxtaposition of dangerous situations with absurd escapes and witty remarks, such as when Apollo and Calypso flee from Lityerses and his gang. The image of Apollo and Calypso making their getaway from murderous beings in a slow toy train at a zoo is comical and absurd and played for laughs. By interjecting humorous situations and dialogue in tense situations, Riordan ensures there is relief for younger readers. It can also be interpreted that the author makes light of dangerous situations because in life, too, high-stakes matters often involve mundane things, such as tater tots and toy trains.

Another feature of the series in particular, and Riordan’s writing as a whole, is the diverse representation of race, gender, and sexuality. Apollo’s bisexuality is a moot point, given that his lovers belong to different genders. Emmie and Josephine are in a healthy relationship, a source of love for each other and those they provide sanctuary. The portrayal of Emmie and Josephine shows heteronormative ideas of family are outmoded. Though Apollo has had many lovers through the ages, one of the text’s motifs is that he has seldom done well by them. In The Hidden Oracle, he laments Daphne, the maiden who turned into a tree to escape his attentions. Here, the wronged lover is Commodus, one of the Triumvirate and the novel’s chief villain. Apollo and Commodus are described as having been extremely close: “We had been friends, more than friends” (122). Apollo also praises Commodus’s beauty: “In mortal form, I appeared to be a youth of the same age, but even with my godly enhancements, I could hardly have been more handsome than the princeps” (121). When Commodus is 18, Apollo blesses him. Yet, as Apollo’s vision in Chapter 19 shows, the god is the one who ultimately kills Commodus, strangling him in the bathtub. Commodus’s last-mouthed words to Apollo express his shocked betrayal. Commodus drowning in the bathtub explains Apollo’s fear of water, which is often referenced in the text. It also explains why Commodus is particularly vengeful toward Apollo. The poignancy of the situation—a lover having no choice but to kill their beloved—gives depth and complexity to Apollo’s character. One of the mortal Apollo’s chief emotions is guilt. As a god, he was free of introspection and convinced of the rightness of his actions. As a human, the more he remembers his actions as a god, the more he suffers. The text raises the question: Why does Apollo end up harming those he loves? Sometimes, it is because of his divine selfishness, as in the case of Daphne. However, in Commodus’s example, the answer is trickier. As a god, Apollo is sometimes bound to act where humans cannot. If Apollo had not slayed Commodus, the emperor would have continued his killing spree. Apollo’s guilt around the murder shows he can sometimes be hard on himself, as many self-aware people are. Apollo is evolving into a thoughtful and conscientious character.

Though Meg has already appeared in the text in Apollo’s vision, she finally appears in person in this section. Her entry is spectacular, as she drops in before Lityerses with “a clang and a burst of sparks” (153), her crossed curved blades trapping his cleaving sword. This establishes Meg’s growing powers and her heroism. Because Meg is a child, the display of power is all the more significant. Her actions also establish that heroism has nothing to do with size and appearance. Meg is characteristically irreverent, asking Apollo to escape with Calypso, and she’ll “hold off stupid-head” (154), meaning Lityerses. Apollo’s refusal to leave Meg immediately reaffirms their deep bond and selfless love for each other. Meg’s entrance introduces important themes around abusive fathers and psychological trauma. Apollo does not blame Meg for abandoning him in the series’ first book since he understands how trauma manipulates people. He can identify with Meg because he, too, has dealt with an abusive parent in the form of Zeus. When he tells Meg, “You should not blame yourself. That fiend Nero played with your emotions, twisted your thoughts” (164), he comes from a place of shared experience. Nero’s effects on Meg’s psyche are evident in the way she continues to stumble over his name, still sometimes referring to him as “my stepfather” (176). Meg’s journey in the novel and the rest of the series will involve confronting her past with Nero and overcoming the shadow of his influence.

Lityerses is presented as cruel and violent; the text retains his alias from Greek mythology, “Cornhusker,” a euphemism for his ability to reap people like corn with his excellent and brutal swordplay. He is set up as a counterpart to Meg since both are good with swords and the children of Demeter. In the Greek record, Lityerses is mentioned as the abandoned son of King Midas, though the link to Demeter is unclear. Lityerses was released from the underworld in The Heroes of Olympus series. Riordan imagines Lityerses as a figure abused by his father, reinforcing the theme of the effect of trauma. Lityerses is important in the text since he is connected with the key themes of parental abuse and Confronting Past Mistakes and Finding Second Chances.

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