The Color of Magic

The author tells the story–each of the internal stories–in the third person omniscient point of view, though it is typically limited to one character per scene. The disembodied voice of the narrator focuses on one character at a time and tells the reader what that character is thinking and feeling. The narrator also gives the reader background information about the character or the world when it is relevant to the scene. For example, the narrator mentions that “that those who are sensitive to radiations in the far octarine—the eighth color, the pigment of the Imagination—can see things that others cannot” shortly before Rincewind spots Death, who is invisible to others (59).

In limited third person, the story is told through the point of view of a single character (per story, or chapter, or scene, depending on how strictly limited the author chooses to be). On the other hand, in a fully omniscient POV, the disembodied narrator can speak directly to the reader in asides, conveying an opinion about the story. The advantage of the fully omniscient point of view is that it allows the reader to have a relationship with the narrator in addition to relationships with the characters in the story. The narrator in The Color of Magic, while distinctly omniscient, does not typically convey personal sentiments. Instead, the narrator typically focuses on “telling” the reader about the characters—their words, actions, and (in the case of the focal character of the scene) their thoughts and unobservable feelings. For example, when introducing Weasel, the narrator tells the reader that “when [Weasel] has occasion to move, it will be seen that he moves lightly, catlike” (8), but the narrator offers no personal thoughts or opinions on Weasel as a person. Thus, The Color of Magic’s narrator is considered “limited omniscient.”

Symbolism can be compared to the way we use indicators on maps. A small and simple object stands in for something larger and more complex, like a flag representing a country or a coin being exchangeable for a given value of goods.

Pratchett’s unique combination of fantasy and satire means that his stories don’t leave much room for symbolism in the usual sense. For example, another author might use a looming, black-robed figure to symbolize someone’s impending death. In the Discworld, where belief and imagination create reality, death is Death, a character in the story. Rather than simply having Death personify the natural process of, well, death, Pratchett treats him as an actual person with quirks and motivations. Death rides a white horse named Binky, likes cats, and sometimes resents his job (some of which readers learn in later books).

Likewise, one might expect Rincewind to become a hero after performing the symbolic act of withdrawing a magic sword from a tree branch. However, rather than representing heroism, Kring the magic talking sword is a nod from Pratchett to other stories containing similar tropes, like the legend of Excalibur or Michael Moorcock’s Stormbringer. Kring isn’t a symbol of Rincewind’s heroic nature; Kring is a symbol for… magic (sometimes talking) swords.

In an example of Pratchett’s inside-out symbolism, Rincewind uses actual gold as a stand-in for the economic power of gold. Rincewind doesn’t understand how economics can “turn gold into copper” or sap the value of local currency (12), but he has seen its power firsthand. Although gold is just a form of currency, nothing magical, it nevertheless has enormous impact.

Rincewind understands impact. He uses gold to lure a guard away from his post, then hits him over the head with a bag full of gold. He throws bags of gold coins to distract greedy opponents while he rescues Twoflower. In his mind, this represents the power of money.

Symbolism relies on familiar messaging to communicate sometimes subtle layers of meaning to readers. Pratchett is rarely subtle. His use of humor and satire makes his points very clear to the reader.