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Flaubert speaks often in his letters of a desire to make criticism, literary style, and even politics “scientific.” Yet critics habitually assume that the meaning of Flaubert’s “science” lies elsewhere than in the practices of the natural sciences as he and his contemporaries would have known them. When Raymonde Debray-Genette writes, for example, “All that Flaubert truly takes from science is the idea of a probable generality,” she implicitly subsumes science to an aesthetic category, to a “documentaryverisimilitude” that justifies—or, better,authorizes—prior acts of the imagination (“Science,” 44).¹ Likewise, there has long been a tendency among Flaubert’s