Here M-B propose that it is "rigorously sui generis" (p.
What M-B does is to refine these distinctions, demonstrating how all of the extant modes and genres are juxtaposed, teased out, and subverted, producing thereby an "architecture of contrasting aesthetic universes" (p.
Instead of the English "kind" or the French "genre," M-B prefers the more idealist "region of the imagination" when referring to the several narrative kinds interlaced throughout the Quixote.
One "region" is, of course, the interpolated Italiante novella about the husband who obliged his best friend to seduce his wife, and here M-B presents the best justification to date for considering that tragic tale to be an integral part of the larger text.
The paradox of M-B's holistic procedure is that, in attempting to idealize Cervantes' narrative technique by elevating it to stratospheric levels of unsurpassed unity, he in fact diminishes it by purging it of complexity--and interest.