“The Last Battle”
The dominant recurring imagery in the book is constructed through perhaps as many as a hundred different references specifically to “the Last Battle.” That these references always the prefatory article and the subsequent capitalization of both words indicates the significance of this event. The imagery throughout points to the Last Battle not just being significant, but taking precedence over literally every other concern. Preparations are understood to be utmost order while at the very same time it is made quite clear that nobody actually has any idea of the precise timeline in which this apocalyptic showdown is scheduled to actually begin.
Apocalyptic Imagery
The impending arrival of an apocalyptic showdown between the forces of good and evil natural requires apocalyptic imagery to convey its significance. Of course, an actual apocalypse need not even be imminent for the imagery to do its job. And that job is propaganda. The apocalyptic showdown between good and evil prophesied by the writer of the Book of Revelation has been successful propaganda for Christianity for more than two millennia despite the fact that it the end times never seem to be any closer than they’ve ever been:
“The wind blew onto land again, past smoldering towns and villages, open plains filled with troops and docks fat with warships. Smoke, war calls and banners flew above dying grass and beneath a dockmaster's gloomy sky. Men did not whisper that this might be the end of times. They yelled it. The Fields of Peace were aflame, the Tower of. Ravens was broken as prophesied and a murderer openly ruled in Seandar. This was a time to lift one's sword and choose a side, then spill blood to give a final color to the dying land.”
“Snakes and Foxes”
Snakes and Foxes is, like Snakes and Ladders (Chutes and Ladders in America) a children’s game that is much more sophisticated in origin and design than generally known. The game also has something in common with the Star Trek’s Kobayashi Maru training simulation in that both are designed to result in failure no matter what players do as long as they are following the rules. The only way to win either is to break the rules or, put another way, cheat. References to both the game itself as well as the more generalized symbolic concepts of pitting snakes against foxes serves as imagery underscoring the high stakes of winning the Last Battle.
Metal Smithing
Of course, not all imagery in the novel is devoted to a more broad-based concept or theme. Examples of very specific use of imagery to serve a narrower purpose are plentiful. At their best, this type reveals the power that this literary device has to put the reader into the story on different levels at once. For instance, in this example the imagery takes the reader into the mindset of Perrin while at the same time opening the door to a better understanding of the nature of metal smithing:
“Metal was something alive. Every blacksmith knew this. Once you heated it, while you worked it, it lived. He took his hammer and chisel and began to shape patterns, ridges, modifications. Waves of sparks flew from him, the ringing of his hammer ever stronger, ever louder, pealing like bells. He used his chisel on a small chunk of steel to form a shape, then placed it down on top of the hammer. With a roar, he raised his hammer one last time over his head and beat it down on the new one, imprinting the ornamentation upon the side of the hammer. A leaping wolf.”
