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Catherine FisherA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide contains descriptions of murder and suicide.
On the morning of Claudia’s wedding, she considers running away but does not follow through. She tries to accept her fate of marrying Caspar and becoming queen, hoping that once she gains the throne, no one will tell her what to do. She seemingly gives up on saving Finn and dreads telling him that Incarceron is shrunken and she does not know how to get anyone out.
The Warden reassures Claudia that “Caspar is nothing but a stepping-stone” (370). She asks if the Warden is part of the conspiracy to kill Sia and Caspar, but he tells her not to worry about it. She asks if he plans to kill her one day, too, but he contends that he loves her. He asks for the key, but Claudia wants to bid Finn farewell first. When the Warden leaves, Claudia contacts Finn, who tells her that their ship has crashed and Gildas is wounded. They see a passageway, but Gildas is too weak to travel. She doesn’t know how to help them because there is no gate.
Jared asks Evian who “the Nine-Fingered One” (374) is and learns that this term refers to Incarceron’s single escapee.
Finn, Gildas, Keiro, and Attia are devastated to learn from Claudia that escape is impossible. Claudia bids them farewell because she has to give the key back to her father, but Attia states that the Warden isn’t her father at all. Claudia lets Jared into her room, then continues listening to Attia, who admits that she did find Claudia’s name in the book of prisoners. Claudia was born in Incarceron but only remained there for a week. After that, she was taken out and no more prison security photos of her appear in the book. However, paintings appear, like the ones they have Outside. Jared tells the group that Sapphique is known Outside as well and is rumored to have escaped from Incarceron. This revelation gives everyone renewed hope. Claudia resolves to enter the prison and find the others.
Claudia tears up her wedding dress and goes to her father’s study with Jared. She sits in the Warden’s chair, which appears to be the portal. Jared presses a button that creates a flash of light and makes her disappear into Incarceron.
Jared goes upstairs to the hall where the wedding will soon begin. The Warden is looking at his watch and frowning. Sia sends a servant to Claudia’s room to find her, but he returns with the torn-up dress. Jared claims that Claudia has fled on a horse and returned home. The Warden orders a patrol to follow her. Suddenly, Evian appears and stabs the Queen, wounding her but not killing her. Guards descend on Evian, who then stabs himself and dies by suicide. The Warden locks Jared in his room and orders guards to keep him inside, take his devices away, and allow no visitors.
Claudia teleports into a cell. The door is open, so she exits, but she doesn’t know where the others are. She tries using the key to speak to them, but it no longer works. Instead, Incarceron speaks to her, offering to lead her toward Finn if she refrains from using the key. Incarceron also wants Claudia to explain what the Outside is like, because it longs to escape from itself. Claudia agrees, not realizing that Incarceron isn’t trustworthy.
Incarceron informs Finn that Claudia is now inside, but Incarceron plans to keep them away from each other. Incarceron magnetizes a wall so that metal objects fly to it and attach themselves. At first, Finn gets stuck to the wall because he is holding a knife, but when he lets go, he is freed. Keiro gets stuck and cannot extricate himself because he is actually a “half-man” and is partially made of metal. Incarceron stops the magnet trick, and everything falls off the wall.
Claudia realizes that Incarceron might be taking her in the wrong direction. Incarceron says that even if Finn is Giles, he is not the same Giles that Claudia remembers, because imprisonment changes people for the worse. Incarceron contends that Finn will not make a good ruler. Claudia activates her key to make herself invisible to Incarceron.
Keiro has always known that he was a half-man, but he never told tell anyone. This confuses Finn, because Keiro hates half-men more than others do. Keiro says his hatred stems from his knowledge that he is also a half-man; his nature frightens him because he doesn’t know which parts of his insides are made of metal. All he knows for sure is that one of his fingers is metal, even though it looks like real flesh. Finn reassures Keiro that his status as a half-man is not important. Suddenly, the group encounters Claudia.
Guards bring Jared to the Warden. No horses have disappeared, so the Warden knows that Claudia has not returned to their estate. Now, he thinks that by saying “home,” Jared meant Incarceron. He realizes that Claudia probably took the key with her, which is good, because it is impossible to escape Incarceron without it. The Warden admits that Helena really died in childbirth; they had a daughter, but the baby died shortly thereafter. The Warden went into Incarceron and found a mother who was struggling financially. She sold her newborn to the Warden to make enough money to keep her other children alive. Nobody but Sia realized that the Warden had a different baby. This is how Sia blackmailed the Warden into imprisoning Giles and faking his death.
The Warden leads Jared to the cellars. They enter the study, where screens show different parts of the prison. The Warden explains that he and the previous wardens kept Incarceron’s failure a secret because there is no way to extract the inmates from the prison. They scroll through the prison’s images until they find Claudia, then turn the sound on so that they can hear her speaking to the group.
Claudia wants to bring everyone Outside but doesn’t know how. Most of all, she wants Finn to escape and become king. She also hopes that because he knows the truth about Incarceron, he might be able to tell others about it and end its existence. Attia thinks that the Outside might still be a “prison,” but a different type than Incarceron. Claudia thinks the key might let them all escape, but she doesn’t know how to do it.
Blaize’s face appears in a wall; Blaize is actually the Warden. He has not entered the prison, but he can make his face appear as he speaks to the group. The Warden says that the key will only transport one person at a time, not everyone. To teleport out, the person must touch the eagle’s eye. The copy may or may not work, but if it does, it will also only transport one person. Claudia points out that he transported her as a baby, but the Warden thinks this only worked because she was so small. Finn says that if he and Claudia use the two keys to leave, he will return and free everyone else, but they doubt this. Keiro wants to go first, so he fights with Finn and grabs the key. When he touches the eye, there is a flash of light, but Keiro doesn’t teleport away. Keiro wants to cut his finger off to make the key work, but Attia stops him, reminding him that his vital organs might also be made of metal. Keiro returns the key to Finn. The Warden orders Claudia and Finn to return. Guards are at his study door, and he needs to prove that Giles/Finn is still alive. Suddenly, Incarceron states that it doesn’t want to let anyone leave.
Incarceron causes a prison quake. The Warden cannot command Incarceron to stop because it has a will of its own. Sia now suspects that the Warden was conspiring with Evian to assassinate her, which means that he and Jared will likely both be killed if the guards get into the study. The Warden decides to use a translation device to speak to Incarceron in the old language that its creators spoke, to trick it.
Gildas wonders if there is another way out of Incarceron, because he doesn’t think that Sapphique had a key. His injuries have worsened, and he is close to death. Finn takes Gildas into a vision to show him stars, which delights Gildas.
The Warden speaks to Incarceron in the old Sapienti language, claiming to be Sapphique and asking Incarceron not to hurt Finn. Incarceron asks “Sapphique” how he escaped and where he is now. The Warden won’t say. Incarceron says that Sapphique is the only person who can help it, when he returns.
Finn’s vision ends, and so does the prison quake. Gildas dies. Keiro and Attia tell Finn and Claudia to go. Finn promises to come back for them later, speculating that as king, he could order Sapienti to create a new key to free half-men too.
Claudia teleports back to her father’s study. Finn also teleports, but on the way, he has a vision in which he talks to Sapphique, who admits that the Outside wasn’t what he expected. Maestra also appears and asks Finn to learn from his mistake of letting her die. Finn then appears in the Warden’s study.
The Warden says that whether or not Finn is really Giles, they have to “make” him Giles to avoid being killed. He admits to Claudia that, at first, she was just a tool in his scheme, but over time, he came to love her as a daughter.
The Warden lets Sia in and tells her that he has found a way to save everyone from assassinations and spilled secrets. He announces to the guards and servants that Sia put Giles in Incarceron to protect him against others who wanted to kill him. Now, the conspirators have been apprehended, so Giles can be free. The Queen pretends to be delighted and invites everyone to celebrate. The Warden transports himself into Incarceron, presumably because he can tell that the Queen is angry and would seek revenge on him if he were to stay. Claudia promises Finn that they will find a way to rescue Keiro and Attia someday. Jared has the Warden’s watch and tells Claudia and Finn that Incarceron is just a tiny charm hanging from it.
In this section, more Biblical allusions appear in epigraphs, heightening the novel’s epic nature, increasing suspense, and establishing a melancholic tone regarding the concepts of freedom and imprisonment. Because the passages from Songs of Sapphique are often in verse and employ poetic devices such as rhyme and repetition to emphasize mood over plot, they resemble the Biblical book Song of Songs in terms of the title and the form. Usually, these passages detail Sapphique’s feelings about his imprisonment, the tragedy of Incarceron, and the letdown of freedom. For example, one passage states, “All my years to this moment / All my roads to this wall. / All my words to this silence / All my pride to this fall” (380), and the doleful tone of this poetic rhythm suggests that when Sapphique reached the end of his journey, it was not as joyful or triumphant as he would have hoped; instead, freedom was a disappointment because the outside world was merely a different kind of dystopia. The repetition of the phrase “all my” invokes a sense of exhaustion, as if Sapphique is so weary after his journey that he barely has enough energy to voice the question of whether his escape was truly worth achieving.
Conversely, the epigraphs that include passages from Legends of Sapphique are more focused on plot and include information about Sapphique’s epic journey to freedom; the Biblical allusions in these passages also increase the epic nature of the text and the novel’s suspense, as do the narrative’s hyperbolic descriptions. For example, when Sapphique reaches the wall at the edge of Incarceron, his fall lasts longer than a day, and he is “like an angel cast down” (392). This passage alludes to the Biblical story of Lucifer, who is cast out of Heaven and falls to Earth. This fall changed both Lucifer and the Earth, and similarly, Sapphique’s journey changed him by causing him to become jaded. This allusion complicates The Ambiguity of Imprisonment and Freedom, because being “cast out” of a “paradise” sounds negative, whereas being “freed” from a “prison” sounds positive. Later, in Finn’s vision, Sapphique admits that the world beyond Incarceron is not what he expected or hoped, and this statement illustrates the fact that escape from Incarceron does not guarantee joy or true “freedom.” It can only guarantee an increase in knowledge and perspective, and such an achievement proves to be a bittersweet victory at best.
In this section, the Warden’s character also shifts significantly, for although he has been portrayed as a villain, he is now revealed to be far more complex than a straightforward antagonist. As a character who must make morally complex choices, he ultimately decides to act as a benefactor and to aid Claudia, Finn, and Jared in their mission. When he explains that he initially purchased his adopted daughter Claudia to use her as a tool, the inherent cruelty of such an act is somewhat mitigated by his honesty and his admission that he eventually grew to love Claudia and view her as a true daughter, not just a means to an end. This declaration provides him with an avenue towards redemption, which he then seizes by changing his behavior towards Claudia and Jared and adopting a supporting role for the protagonists. Because he has told Claudia the truth and freed himself from Sia’s blackmail, he no longer has to go along with her plots and can instead act to protect his daughter. Instead of preventing the group’s success, he gives them the knowledge and tools that they need to fulfill their mission of freeing Finn from Incarceron. Even more significantly, the Warden’s decision to shift his loyalties represents a form of freedom, for he actively works to free himself from his previous status quo. Thus, even though the Warden teleports into Incarceron to avoid Sia’s wrath, he is in some ways freer than he was before, as he has finally taken control of his life by correcting his moral compass.
Significantly, although the novel completes its internal plot structure, the author deliberately leaves several few unresolved questions so that the lingering suspense lingers will encourage readers to continue the story with the sequel, Sapphique (2008). Although Claudia rescues Finn from Incarceron, completing the main plot arc, Keiro and Attia remain imprisoned, and Finn’s promise to return for them provides an impetus for continuing the story. Additionally, the mysteries of Sapphique’s escape methods remain and may provide the “key” to freeing the remaining prisoners. The author therefore resolves just enough of the plot to create a logical conclusion, while leaving a wealth of questions to fuel the subsequent installment.