d of his own alienated construction motivated him to re create as best he could a familiar sociouiltu ral pattern Finding comfort in the Museum Fremen, Leto proceeded to treat them as his playthings, nurturing them while constraining the scope of their lives for his own nostalgic uses Although Dadas-Nerm's interpretation can not be substantiated, there is little in the record to indicate that the Museum Fremen understood, appreciated, or even accurately preserved the ethos of the true Fremen To the cultural anthropologist, one of the most disheartening aspects of the Museum Fremen was their commercialization and cheapening of the society whose ways they were intended to preserve While Leto forbade any selling within the Museum Fremen villages themselves, rings of vendors' stands sprang up circling the mock sietches there one could buy plastic cryskmves and maker hooks, clearly stamped with their planet of manufacture-Giedi Prime Stuffed toys in the shape of sandworms sietch models to be cut out and assembled, stillsuited dolls-all were available to the tourist desiring a souvenir but not worried much about ito authenticity In the surrounding shops, one could have his fortune told by a Sayyadma' or see pan- FREMEN, MUSEUM 249 FREMEN POETRY oramic displays of scenes from die life of Paul Muad'Dib, eat baklava or dnnk "spiced" (cinnamon flavored) coffee Yet worst of all was the re-enactment of Fremen ritual, such as the Ceremony of the Seed, or the consecration of the Water of Life, not annually as had been the case when the rites were meaningful, but on the hour before bleachersful of pilgrims The Museum Fremen contained the worst of two possibilities they possessed neither a fun-loving spirit of make believe nor a genu me reverence for the past their villages were carnivals without gaiety and ntuais without respect Among the excesses and tollies of Emperor Leto's long reign, the Museum Fremen must be counted one of the most degrading M O FREMEN POETRY, 10196-10208 During the last two hundred years ("Atreidean period") of the most acclaimed era of Imperial poetry (10000-10400), almost all of the noted lyricists who wrote in FrenKB were from other worlds (See IMPERIAL POETRY) The number of native Fremen writers was relatively small, and their talents tended in different directions The native-born Piemen poet most often found expression, when he employed the shorter forms in the elegy or lament Sacred vases- prayers and psalms-were likewise favored by the Fremeu poet, but the study of those works belongs mote properly to the category of religion, not of art The Fremen liking for die elegy and lament stemmed from several factors first, the conditions of desert life turned many a Fremen mind to isolation and introspection Second, the participation of the desert tribes in die plans of the Kyneses, father and son, gave them a vision of a flowering of their planet, but a vision so far in the future that none of them would live t