 For Lacan, identification with the imago-Gestalt of the moi entails alienation—and this for additional reasons over and above those given in the preceding paragraphs. Already in the 1949 écrit on the mirror stage, mention is made of “some prop, human or artificial” supporting the infant as he/she gazes into the mirror and looks at him/her-self. In 1949, Lacan seems to think of this prop more as artificial than human, referring to the “trotte-bébé” (walker) leaned on by the child. But, in subsequent revisitations of the mirror stage during the 1960s, Lacan dramatically highlights the supporting role of fellow human beings instead. In so doing, he argues that the infant is encouraged to identify with the mirror image as “me” by verbal and gestural prompts issuing from the bigger other(s) holding him/her up in front of the reflective surface (for example, the utterance “That’s you there!” accompanied by pointing and grinning). This later shift of emphasis has two crucial consequences. First, the Imaginary register of the mirror does not precede the Symbolic register of language and sociality in a linear chronology of developmental stages (as the earlier text of “The Mirror Stage” might be at risk of suggesting); if anything, socio-linguistic variables (for instance, the words and body language of parents) are the causal triggers of the child’s investment in select sensory-perceptual experiences (such as the body image in the mirror). Second, this means that the imagistic nucleus of the ego is suffused from the get-go with the destinal “discourse of the Other”—in this case, fateful significations (in Lacanese, “unary traits”) coming from caregivers’ narratives articulated simultaneously along with their encouragements to the child to recognize him/her-self in the mirror (“What a handsome boy!,” “What a beautiful girl!,” “You’re going to grow up to be big and strong, just like your daddy,” etc.).