Abstract
Jean Gyory recently proposed that readers of Chrdtien de Troyes consider not only the significance of the discursive movement of the verse-narrative, but also the significance of the patterns created by the unconscious, lateral movement of the imagination of the poet (the terms resemble, as M. Gyory uses them, Max Weber's schematic polarization of rational/irrational).1 M. Gyory devotes most of his attention to incestual fantasies in Chr6tien's Erec, and skims through some of the other romances, offering a prolegmenon to a study of Chrntien's imagery. The few remarks he devotes to Cliges are worth pursuing:
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