Дюна әлемінен Алия Атрейдес

Fictional character in the Dune universe created by Frank Herbert

Alia Atreides /ə/'/l//iː//ə// //ə/'/t//r//eɪ////d//iː//z/ is a fictional character in the Dune universe created by Frank Herbert. She was introduced in the first novel of the series, 1965's Dune, and was originally killed in Herbert's first version of the manuscript. At the suggestion of Analog magazine editor John Campbell, Herbert kept her alive in the final draft. During the events of Dune, Alia is born on the planet Arrakis in the year 10,191 A. G., eight months after her father's death. Because of the unique nature of her birth she possesses the consciousness of an adult Bene Gesserit; thus she is considered an Abomination by the Bene Gesserit. An adult Alia is described by Herbert in Dune Messiah:
Her features lay exposed—blue in blue "spice eyes," her mother's oval face beneath a cap of bronze hair, small nose, mouth wide and generous. Novelist Brian Herbert, Frank Herbert's son and biographer, describes Alia as a "virgin witch" archetype. William Touponce explains, "Alia is the archetypal virgin harlot, a Reverend Mother without motherhood, virgin priestess, witch, and object of fearful veneration for the superstitious masses".

In Dune (1965), Alia is born a full Reverend Mother when she is exposed to the Water of Life (the bile of a drowned sandworm) in the womb as Lady Jessica undergoes the spice agony. Children born this way, called Abominations, are killed by the Bene Gesserit whenever possible because they have little defense against the personalities contained in Other Memory, the Bene Gesserit ability to access ancestral egos and memories. Without the existence of a strong personal identity, a child awakened to consciousness in utero is highly susceptible to becoming possessed by one of her ancestors. Jessica, despite her awareness of this likelihood, brings her baby to term, and Alia slowly learns to control the powers she has been granted as Reverend Mother and sister of the Kwisatz Haderach. Alia soon communicates with Paul the same way:
blockquote|Of all the uses of time vision, this was the strangest. "I have breasted the future to place my words where only you can hear them," Alia had said. "Even you cannot do that, my brother. I find it an interesting play. And oh, yes—I've killed our grandfather, the demented old Baron. He had very little pain."

The character is further explored in 1969's Dune Messiah through her relationship with the ghola Hayt, who is Paul's teacher, Duncan Idaho, brought back from the dead by Tleilaxu means. Throughout the novel, there are hints of sexual tension between them as they work together to unravel the conspiracy against the Atreides. Hayt even steals a kiss from Alia, which upsets her; he responds by saying that he took nothing more than what was offered. Alia eventually agrees. When a blinded Paul departs into the desert, as is the Fremen custom for the blind, Alia is named Regent and the guardian of Paul's children: the heir, Leto II, and his sister, Ghanima. Shortly after, Alia marries Hayt, who has regained his full memory and is completely restored as Duncan.

In Children of Dune (1976), Alia becomes progressively more devious and power hungry as she slowly succumbs to Abomination. Falling under the influence of the persona of her deceased grandfather, the Baron Harkonnen, Alia abuses her powers as Regent and becomes a ruthless tyrant. She allows the Baron access to her senses in exchange for his help fighting off the other personalities within her, but his sexual proclivities soon control her, compelling her to engage in sexual acts with one of her aides. During the exercise of his Mentat powers, Duncan comes to the realization that Alia has fallen into Abomination, and helps Jessica escape Alia's murderous plot.

In Sandworms of Dune (2007), the voice of Alia continues to irk the Baron, driving him to frequent outbursts that confuse those around him. Alia is recreated as a ghola on the no ship Ithaca; in an attempt to grow Alia exactly as she had been in life, the axlotl tank is flooded with a near lethal dose of the spice melange. Although the Alia ghola shows a great deal more maturity than would be expected for her age, she does not display any Other Memory or signs of Abomination. The reincarnated Baron Harkonnen murders the four year old Alia ghola on the Ithaca, but is soon murdered himself by the Wellington Yueh ghola.

Alia is portrayed by Alicia Witt in David Lynch's 1984 film adaptation, by Laura Burton in the 2000 miniseries Frank Herbert's Dune and by Daniela Amavia in its 2003 sequel, Frank Herbert's Children of Dune. Alia appears briefly as an infant in one of Paul's visions of the future in the 2021 film Dune, which covers the first part of the book. The casting of Anya Taylor Joy in Dune: Part Two as an adult Alia in a cameo appearance was kept secret until the February 2024 film premiere in London. Laura Fries of Variety wrote in 2003, regarding the miniseries adaption of Alia, "Amavia and [Julie] Cox as the tortured Alia and the put upon Irulan offer layered performances". Emmet Asher Perrin of Tor. com called Amavia's portrayal of Alia a "highlight" of the miniseries, and praised the attention paid to Alia's character development. Asher Perrin praised the miniseries' departure from the novel in regard to Alia's fate:
blockquote|And rather than have Alia throw herself out a window to end her possession once and for all, the miniseries does something devastating—Alia stabs herself, and as she lies on the floor dying, Jessica takes her into her arms. In a moment of exact parallel between her child self in the Dune miniseries, Alia reaches up to touch her mother's tears, tastes them, then whispers, "I want my brother," before joining him in death. It is one of those rare moments that makes the book seem clumsy and frail by comparison. As a result of the change, the adaptation assigns aspects of Alia's role in the book's climax to Paul. Instead, Jessica communicates with the sentient fetus throughout the film, while an adult Alia (played by Taylor Joy) appears in one of Paul's visions of the future. Villeneuve acknowledged "it's a strong curve that we took, but I felt that it was very close to the spirit of the book."