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Frank HerbertA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
During his survey of damaged qanats in a sietch, Gurney observes a willow tree torn by wind and sand, struggling to survive without water. Gurney considers the tree “silly” and just as “alien” as he is to the planet (530). The willow symbolizes the foolishness of the terraforming project and the inequities of a social hierarchy. Leto has been destroying the qanats to sabotage the ecological transformation of the planet, yet the people still attempt to gather their reserve to water the “doomed” (530) plants. Gurney regards the scene as a misdirection of priorities and begins to see that the terraforming project has no place on the planet.
The practice of watering trees alludes to the date palms from Dune. When the Atreideses move into their home on Arrakis, Paul learns that 10 palm trees planted outside required the same amount of water to keep 100 men alive. The trees represented wastefulness and decadence of the elite class, and Gurney draws a similar parallel at the sight of the willow tree. He envisions how the changes to the planet will stratify society into those with resources and those without. Using a metaphor of colonialism, Gurney imagines that Arakkeen life will have a similar dynamic to the social classes on Caladan, where “[t]he rural districts were colonies of the urban centers” (531). Like Stilgar, Gurney begins to see the long-term consequences of human intervention on the planet’s ecology and concludes that instead of progress, the terraforming project will bring about subjugation.
The baliset is a stringed instrument and is closely associated with Gurney Halleck, Warmaster and troubadour for House Atreides. Leto plays the baliset, which Gurney gifted to him. With Gurney, the instrument symbolizes the dichotomy between the arts of war and music: War is the art of violence, and music is the art of self-expression. In Leto’s hands, and under the ego-memory of Paul, the baliset spurs a nostalgia for Caladan, the Atreideses’ home planet. It symbolizes exilic longing and Paul’s memory of his profound friendship with Gurney.
In addition to this symbolism, the baliset also serves as inspiration. The instrument inspires Leto alone to sing an ancient song about the cycles of life and death:
Nature’s beauteous form
Contains a lovely essence
Called by some—decay.
By this lovely presence
New life finds its way (43).
The song denotes the ecological message of the novel and the important cycle of decay and renewal, two dichotomous events that enable nature’s beauty. It also foreshadows Leto’s ultimate death at the end of transformation, a necessary stage of the Golden Path in which his body returns to the sand and seeds the planet for the return of the sandworms. Ghanima mentions this course briefly at the end of Children of Dune. In God Emperor of Dune, Leto’s death is vividly described as an event that brings life.
Throughout the novel, Leto makes obscure references to a “terrible glove” (319), which is later revealed to be the first step of his sandtrout metamorphosis. One by one, Leto allows the sandtrout to cover his hand and join their cilia into a single membrane. The glove symbolizes sacrifice and the loss of Leto’s humanity. Leto’s father, Paul, had seen the cost of the Golden Path and was unable to go through with it. In contrast, Leto is willing to see the course through to its end and starts with his right hand. The hand is a significant echo to a test Paul had to endure in the first novel. As a product of the Bene Gesserit breeding program, Paul had to prove to the Mother Reverent Mohiam that he was not an animal but a human by sticking his hand into a box and enduring excruciating pain. Paul passes the test by using his right hand to prove that he is indeed human. In a reversal, Leto uses his right hand to forfeit his humanity by allowing the sandtrout to form a permanent glove.
One of the ironies of the Golden Path is that humanity’s worst enemy may be itself. In order to save humans, Leto rids himself of his primacy as a human and takes on a symbiotic form. The glove represents the symbiosis between humankind and nature, as the creatures form a living skin on his body, transforming him into a new organism. The sandtrout skin also functions as a living stillsuit, conserving Leto’s water and allowing him a full range of freedom in the desert. Leto’s body becomes a symbol of how humans, animals, and the environment can coexist in a balanced ecosystem.
At the end of the novel, Stilgar’s gift to Leto is Ghanima’s headband, which features the Atreides Hawk woven onto the spice-fiber fabric. The emblem and the textile symbolize Stilgar’s loyalty to the ruling House and his Fremen identity, respectively. As a tribute to the new emperor, the headband is a modest offering, which communicates Stilgar’s devotion to protecting Ghanima as well as his reluctance to lavish Leto with extravagant gifts and condone his questionable reign. In return, Leto gives Stilgar a mocking gift: a torn piece of Ghanima’s robe from when he had to save her from Alia. The piece of fabric insinuates that Stilgar had failed to protect her, and that Leto had to come to the rescue.
The exchange highlights the tension between both figures and illustrates how Ghanima functions as the symbol of the planet and political stability. Her welfare (or endangerment) indexes the condition of the state, and both Stilgar and Leto claim to save Ghanima as they have saved Arrakis. The allegory of woman as nation, or in this case, planet, is a common trope, often restricting the function of women as mothers to her people and her government. Both men regard Ghanima as a mother figure. To Stilgar, Ghanima represents everything precious about the Fremen, especially her mother, Chani. Stilgar is entranced when he observes Ghanima and notes her “deep blue, steady, demanding, measuring eyes. And that way of throwing her red-gold hair off her shoulder with a twist of the head: that was Chani. It was a ghostly resurrection, an uncanny resemblance” (195). For Leto, Ghanima is the mother to a new era of humanity, as her offspring with Farad’n sets in motion Leto’s breeding program to produce a new genetic variation that will save humankind.
By Frank Herbert