Cover of Gregor and the Prophecy of Bane
    Adventure FictionFantasyFiction

    Gregor and the Prophecy of Bane

    by Suzanne, Collins,
    In “Gregor and the Prophecy of Bane,” the second installment of Suzanne Collins’ “Underland Chronicles,” young Gregor returns to the subterranean world beneath New York City. This time, he embarks on a perilous quest to fulfill a dark prophecy involving a deadly rat known as the Bane. Alongside his sister Boots and Underland allies, Gregor navigates treacherous landscapes and moral dilemmas, exploring themes of destiny, courage, and the consequences of power. The novel blends adventure and introspection, expanding the richly imagined Underland while deepening Gregor’s character development. Collins’ middle-grade fantasy series is noted for its sophisticated storytelling and emotional resonance.

    In Chap­ter 26, Gre­gor wit­ness­es Nerissa’s seem­ing­ly mad laugh­ter as she reveals a piv­otal mis­in­ter­pre­ta­tion of the prophe­cy. Vikus joins her, and they real­ize the “baby” ref­er­enced in the prophe­cy was not Gregor’s sis­ter but the Bane, a young gnaw­er. Gregor’s deci­sion to spare the Bane’s life—driven by his moral compass—fulfills the prophe­cy, as killing it would have destroyed his human­i­ty. Ner­is­sa and Vikus clar­i­fy that the Bane’s sur­vival pre­vents the gnaw­ers from ral­ly­ing for war, turn­ing Gregor’s act of mer­cy into a strate­gic vic­to­ry for the Under­land.

    The chap­ter shifts as Ner­is­sa, now com­posed, dis­miss­es Gregor’s tri­al, declar­ing him a sav­ior of the Under­land. She invites Gre­gor, Ares, Howard, and Androm­e­da to a pri­vate din­ner, where they eat in solemn silence, unit­ed by shared grief. The meal is lav­ish, a con­trast to their recent hard­ships, but their appetites are sub­dued by emo­tion­al exhaus­tion. Nerissa’s acknowl­edg­ment of their col­lec­tive loss cre­ates a moment of qui­et sol­i­dar­i­ty, empha­siz­ing the toll of their jour­ney.

    After din­ner, the group is sent to the hos­pi­tal for much-need­ed med­ical care and baths. Gre­gor reflects on his phys­i­cal injuries, a tes­ta­ment to the ordeal he endured. Howard arranges for them to stay togeth­er in his family’s cham­bers, offer­ing safe­ty amid lin­ger­ing uncer­tain­ty about their sta­tus in Regalia. The bats and Howard quick­ly fall asleep, but Gre­gor remains awake, haunt­ed by thoughts of return­ing home to face life with­out Boots.

    The chap­ter clos­es with Gregor’s unre­solved anx­i­ety about the future. His mind races with the impend­ing real­i­ty of his sister’s absence and the emo­tion­al weight await­ing him in the Over­land. The qui­et cama­raderie of his com­pan­ions pro­vides tem­po­rary solace, but the chap­ter under­scores the lin­ger­ing trau­ma and unan­swered ques­tions that fol­low their hard-won vic­to­ry.

    FAQs

    • 1. What was the true meaning of the prophecy regarding “the baby,” and how did Gregor’s actions fulfill it?

      Answer:
      The prophecy’s “baby” referred not to Gregor’s sister Boots, but to the Bane—the young rat pup. The lines “DIE THE BABY, DIE HIS HEART, DIE HIS MOST ESSENTIAL PART” symbolized that killing the Bane would have destroyed Gregor’s humanity and compassion. By sparing the pup, Gregor preserved his moral core, which Vikus and Nerissa realized was the prophecy’s true intent. This act thwarted the gnawers’ plans, as the Bane’s death would have united them in war. Gregor’s mercy thus “saved the Underland” by preventing total conflict (Vikus notes, “Its death would have been enough to rally them”).

      2. How does Nerissa’s behavior in the courtroom reflect her character development and the chapter’s themes?

      Answer:
      Nerissa’s laughter and apparent madness mask her clarity of insight—she is the first to grasp the prophecy’s true meaning. Her erratic demeanor contrasts with her authoritative dismissal of the trial (“Of course there will be no trial!”). This juxtaposition highlights themes of perception versus reality: those deemed unstable (like Nerissa) often see truths others miss. Her invitation to dine and acknowledgment of shared grief (“no one here has been spared”) also reveal her empathy, bridging her role as both a prophetic figure and a compassionate leader.

      3. Analyze the significance of Gregor’s reflection: “If you can kill a baby, what can’t you do?” How does this connect to the broader moral dilemmas in the story?

      Answer:
      Gregor’s rhetorical question underscores the slippery slope of moral justification. His refusal to kill the Bane—despite its future threat—demonstrates that ends do not justify means. This echoes earlier conflicts, such as the Underlanders’ willingness to sacrifice individuals for prophecies. By prioritizing mercy over expediency, Gregor challenges the utilitarian ethics prevalent in the Underland. Vikus’s realization (“We never considered it”) critiques how rigid interpretations of destiny can obscure fundamental morality, making Gregor’s choice a pivotal rejection of cyclical violence.

      4. How does the dining scene serve as a narrative contrast to the preceding events, and what symbolism is present in the setting?

      Answer:
      The quiet, intimate meal provides respite after the courtroom’s tension and the Labyrinth’s trauma. The tapestries of the Overland symbolize Gregor’s dual identity—caught between worlds yet finding temporary peace. The food, prepared for a coronation, represents uncelebrated victory: though the group saved Regalia, they mourn losses (Luxa, Boots). Nerissa’s inability to eat mirrors their collective grief, while the shared silence acknowledges unspeakable pain. The scene thus contrasts outward triumph with inner turmoil, emphasizing costs of war beyond physical survival.

      5. Why might Gregor hesitate to return to his Overland home, despite being cleared of charges?

      Answer:
      Gregor dreads facing Boots’s absence—her untouched belongings will make her death inescapably real (“It would be, when he was back… looking at her bed”). His insomnia hints at unresolved trauma, compounded by guilt (he associates her loss with his role as warrior). Additionally, Regalia’s uncertain loyalty (“plenty of people still thought they were guilty”) mirrors his fractured identity; he is neither fully of the Underland nor able to resume a normal life above. This foreshadows his ongoing struggle to reconcile duty, grief, and belonging.

    Quotes

    • 1. “‘The baby in the prophecy was never your sister, Gregor. It was the Bane,’ said Vikus.”

      This revelation recontextualizes the entire prophecy, showing that Gregor’s moral choice to spare the Bane (a baby) was the true fulfillment rather than killing it. It marks a pivotal turning point in understanding the prophecy’s meaning.

      2. “‘Because it’s a baby. It’s just wrong,’ said Gregor. ‘It’s the most evil thing … I … I mean, if you can kill a baby, what can’t you do?’”

      Gregor’s emotional defense of his choice highlights the moral core of the story - that preserving one’s humanity matters more than blind obedience to prophecy. This quote encapsulates the chapter’s central ethical dilemma.

      3. “‘DIE THE BABY, DIE HIS HEART, DIE HIS MOST ESSENTIAL PART.’”

      This prophetic verse gains profound meaning when understood as referring to Gregor’s moral compass. The quote crystallizes the chapter’s theme that true strength lies in compassion rather than violence.

      4. “‘Total war,’ said Vikus. ‘Its death would have been enough to rally them. Taking that pup to Ripred was a stroke of genius, Gregor. Oh, they will not know how to parry that move.’”

      This quote shows the strategic importance of Gregor’s mercy, revealing how sparing the Bane actually prevented a larger conflict. It demonstrates the unexpected wisdom in Gregor’s seemingly naive choice.

      5. “‘He has saved the Underland.’ She got to her feet, using Vikus for support, and saw the other defendants staring at her. ‘And all who helped him are held in our highest regard.’”

      Nerissa’s pronouncement represents the resolution of the trial and vindication for Gregor’s party. It shows how moral courage is ultimately recognized and rewarded, completing the chapter’s narrative arc.

    Quotes

    1. “‘The baby in the prophecy was never your sister, Gregor. It was the Bane,’ said Vikus.”

    This revelation recontextualizes the entire prophecy, showing that Gregor’s moral choice to spare the Bane (a baby) was the true fulfillment rather than killing it. It marks a pivotal turning point in understanding the prophecy’s meaning.

    2. “‘Because it’s a baby. It’s just wrong,’ said Gregor. ‘It’s the most evil thing … I … I mean, if you can kill a baby, what can’t you do?’”

    Gregor’s emotional defense of his choice highlights the moral core of the story - that preserving one’s humanity matters more than blind obedience to prophecy. This quote encapsulates the chapter’s central ethical dilemma.

    3. “‘DIE THE BABY, DIE HIS HEART, DIE HIS MOST ESSENTIAL PART.’”

    This prophetic verse gains profound meaning when understood as referring to Gregor’s moral compass. The quote crystallizes the chapter’s theme that true strength lies in compassion rather than violence.

    4. “‘Total war,’ said Vikus. ‘Its death would have been enough to rally them. Taking that pup to Ripred was a stroke of genius, Gregor. Oh, they will not know how to parry that move.’”

    This quote shows the strategic importance of Gregor’s mercy, revealing how sparing the Bane actually prevented a larger conflict. It demonstrates the unexpected wisdom in Gregor’s seemingly naive choice.

    5. “‘He has saved the Underland.’ She got to her feet, using Vikus for support, and saw the other defendants staring at her. ‘And all who helped him are held in our highest regard.’”

    Nerissa’s pronouncement represents the resolution of the trial and vindication for Gregor’s party. It shows how moral courage is ultimately recognized and rewarded, completing the chapter’s narrative arc.

    FAQs

    1. What was the true meaning of the prophecy regarding “the baby,” and how did Gregor’s actions fulfill it?

    Answer:
    The prophecy’s “baby” referred not to Gregor’s sister Boots, but to the Bane—the young rat pup. The lines “DIE THE BABY, DIE HIS HEART, DIE HIS MOST ESSENTIAL PART” symbolized that killing the Bane would have destroyed Gregor’s humanity and compassion. By sparing the pup, Gregor preserved his moral core, which Vikus and Nerissa realized was the prophecy’s true intent. This act thwarted the gnawers’ plans, as the Bane’s death would have united them in war. Gregor’s mercy thus “saved the Underland” by preventing total conflict (Vikus notes, “Its death would have been enough to rally them”).

    2. How does Nerissa’s behavior in the courtroom reflect her character development and the chapter’s themes?

    Answer:
    Nerissa’s laughter and apparent madness mask her clarity of insight—she is the first to grasp the prophecy’s true meaning. Her erratic demeanor contrasts with her authoritative dismissal of the trial (“Of course there will be no trial!”). This juxtaposition highlights themes of perception versus reality: those deemed unstable (like Nerissa) often see truths others miss. Her invitation to dine and acknowledgment of shared grief (“no one here has been spared”) also reveal her empathy, bridging her role as both a prophetic figure and a compassionate leader.

    3. Analyze the significance of Gregor’s reflection: “If you can kill a baby, what can’t you do?” How does this connect to the broader moral dilemmas in the story?

    Answer:
    Gregor’s rhetorical question underscores the slippery slope of moral justification. His refusal to kill the Bane—despite its future threat—demonstrates that ends do not justify means. This echoes earlier conflicts, such as the Underlanders’ willingness to sacrifice individuals for prophecies. By prioritizing mercy over expediency, Gregor challenges the utilitarian ethics prevalent in the Underland. Vikus’s realization (“We never considered it”) critiques how rigid interpretations of destiny can obscure fundamental morality, making Gregor’s choice a pivotal rejection of cyclical violence.

    4. How does the dining scene serve as a narrative contrast to the preceding events, and what symbolism is present in the setting?

    Answer:
    The quiet, intimate meal provides respite after the courtroom’s tension and the Labyrinth’s trauma. The tapestries of the Overland symbolize Gregor’s dual identity—caught between worlds yet finding temporary peace. The food, prepared for a coronation, represents uncelebrated victory: though the group saved Regalia, they mourn losses (Luxa, Boots). Nerissa’s inability to eat mirrors their collective grief, while the shared silence acknowledges unspeakable pain. The scene thus contrasts outward triumph with inner turmoil, emphasizing costs of war beyond physical survival.

    5. Why might Gregor hesitate to return to his Overland home, despite being cleared of charges?

    Answer:
    Gregor dreads facing Boots’s absence—her untouched belongings will make her death inescapably real (“It would be, when he was back… looking at her bed”). His insomnia hints at unresolved trauma, compounded by guilt (he associates her loss with his role as warrior). Additionally, Regalia’s uncertain loyalty (“plenty of people still thought they were guilty”) mirrors his fractured identity; he is neither fully of the Underland nor able to resume a normal life above. This foreshadows his ongoing struggle to reconcile duty, grief, and belonging.

    Note