The Dark Prophecy

This last section—marking the falling action and resolution of the narrative—ties up the loose threads in the book while setting the stage for the next novel in the series. The last three chapters focus on the actual prophecy of Trophonius, establishing plot points that will connect with the next book, The Burning Maze. One of the interesting aspects of the prophecy is that it is received by both Meg and Apollo and recounted by Meg, which again shows Meg’s growing importance in the series plot and her growing powers. Significantly, it is Meg who summons the satyr in the last chapter, and the satyr turns out to be the influential Grover Underwood.

Apollo and Meg’s bond, broken at the end of the first book, is fully repaired by this section. When the blemmyae attack Meg and Apollo in Chapter 37, he surprises himself by offering his life to save hers: “These were not the last words I had planned. […] [Y]et here I was, at the end of my life, pleading not for myself but for Meg McCaffrey” (355). Apollo’s protectiveness signifies the growth in his character. Ironically, the more human compassion Apollo gains, the closer he comes to godly power. In his last battle with Commodus, Apollo feels fearless and can briefly summon his divine form only because he has “survived a journey (Commodus) would never take” (372). Apollo dared to face mortal peril and his own demons when he entered the Cave of Trophonius. Commodus did not visit the cave himself because of the danger it involved, leaving the peril to his soldiers. Apollo undertook the quest knowing it could permanently affect his mind, which makes him more than a god—it makes him a hero. The bravery of heroes is all the more admirable and hard-won because it is attempted knowing the hero can die.

The encounter with Commodus marks an important milestone in the evolution of Apollo’s character. After he chases Commodus away with the brilliance of his light, Emmie refers to Apollo as “Lord Apollo” (384), indicating Apollo has won her respect. Apollo’s admission to Emmie that he envies the home she has built with Josephine is also significant because it shows that Apollo is beginning to realize that an immortal life is not the only ideal. Mortal life, with its many dangers and small joys, can also be meaningful. This realization marks the end of a full circle for Apollo, who, at the novel’s beginning, could not comprehend why anyone would willingly give up immortality for a human existence.

Though many plot threads are resolved in the novel, many are left open to be pursued in the rest of the series. Riordan’s narrative choices are deliberately structured to keep readers piqued. For instance, Apollo notes that even though Commodus vanished from the window, he will surely return. The Hunters of Artemis leave to chase the Teumessian Fox, a gigantic beast from Greek mythology who always evades capture, indicating a new plot line in the next few novels. Grover Underwood’s appearance links this book with The Percy Jackson series, and intriguing questions, such as the identity of Meg’s extended family, are raised.

The prophecy of Trophonius is delivered in the rare—and dreaded—form of a Shakespearean sonnet. Though the moment is played for laughs, with Apollo recalling his arguments with Shakespeare over his choice of poetic form, there is a somber undertone to the form of the prophecy. A Shakespearean sonnet consists of three four-line stanzas and one ending couplet, which implies 14 lines of prophecy. Such a long prophecy is bound to be complex and difficult to parse. The prophecy’s length foreshadows that Apollo and Meg’s next quest will be even more dangerous and darker than this one.

Though the book offers life-affirming lessons for its young readers, Riordan does not sugarcoat reality. One of the novel’s themes is that loss is a part of life. Some things cannot be repaired or returned. For instance, Heloise, the mother griffin, dies in battle, leaving her cub and Abelard in grief. The griffin—half-eagle and half-lion—is associated with bravery, heroism, and wisdom. The death of a griffin marks the end of something pure and noble, signifying that life is seldom easy or perfect. It also brings the spotlight back to the text’s prominent theme of Mortality and Human Existence. Apollo must accept Heloise’s death, move on, and keep fighting despite his losses. The story of Trophonius and Agamethus also has a bittersweet ending. Apollo apologizes to Agamethus for letting him die and offers to petition Hades to let his soul pass to Elysium, the happy afterlife. But Agamethus replies through the Magic 8 Ball: “I WILL GO WHERE I MUST. I WILL FIND TROPHONIUS. TAKE CARE OF EACH OTHER, AS MY BROTHER AND I COULD NOT” (400). Agamethus indicates that some actions cannot be taken back or easily fixed. One can only decide what to do next.

At the end of the book, Leo decides to go to California to warn Camp Jupiter about the coming attack (as predicted by the prophecy of Trophonius). Calypso is to stay back at the Waystation, where she will enroll in high school. Lityerses decides to stay on at the Waystation as well. Apollo and Meg leave to find the next prophecy. Order is thus restored for the time being. Characters like Calypso and Lityerses find the healing space they need after a life of turmoil, Meg is getting closer to reconciling with her past, and Apollo is on his way to uniting his new-found humanity with his divinity.