Baudelaire is perhaps only in the Balcon, and all of Flaubert is in Madame Bovary” (p. xix), the true Proust is not simultaneously everywhere. Rousset must also conclude that the characters of l’Otage are severed not by “circumstance,” but, “to express it better,” by the “demands of the Claudelian framework” (p. 179); he must deploy marvels of subtlety to demonstrate that in Le soulier de satin Claudel does not “repudiate himself” and does not “renounce” his “constant framework” (p. 183). What is most serious is that this “ultrastructuralist” method, as we have called it, seems to contradict, in certain respects, the most pre- cious and original intention of structuralism.