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This essay develops some thoughts about the much discussed issue of the genre of Buscón, as treated in several editions and studies, that show the necessary dialogue of ecdotics and hermeneutics. The purpose of die essay was not to review all critical or scholarly editions published during die last decades. Only the ones that were chosen that reveal, directly or indirectly, the interdependence of literary theory and criticism, as it manifests itself in the changing interpretations of Quevedo's fictional autobiography attributed by its author to an imaginary rogue, Pablos of Segovia. [ABSTRACT FROM AUTHOR]

In a letter to Sandoval dated on March 1635, Quevedo told him that he had finished «a long, political and ethical» work, titled Teatro de la Historia. This work was among those listed as not returned to our author after he was liberated according to Pablo Tarsia. Yet although Quevedo keeps trying to recover other confiscated texts in 1639, he does not talk of Theatro after 1643. Instead in his report to Felipe IV, Chumacero refers to a certain Desengaños de la historia, that could have been the same work, though designated with a different title. It is possible to conjecture, however, that both were former versions of Quevedo's last Menippean satire, La Hora de todos. Had he been able to get another manuscript copy, it would have been unnecessary to continue asking for this particular work. [ABSTRACT FROM AUTHOR]