As noted by two of his critics and direct disciples (Aguiar e Silva and Aníbal de Castro), the discovery of some manuscripts concerning Camões’s lyric poetry, previously unknown or undervalued, challenged particular authorial attributions established by CP as editor. Similarly, in the case of Os Lusíadas , some decisions regarding the text’s stabilisation were deemed controversial. Despite these reservations, it can be said that, more than 50 years after their publication, CP’s editions of Camões’s works remain a reference point for all those who study and teach the texts of Portugal’s greatest poet.

The same can be said of the Obra Completa de Gil Vicente [Complete Works of Gil Vicente], published in 1956. Like the 1944 edition of Camões’s works, this edition also featured vignettes and illuminations by Joaquim Lopes. However, it also included a 75-page introductory study divided into eight subchapters. This study systematised the most important knowledge of the time about the playwright and offered perspectives on controversial aspects, ranging from his biography and intellectual culture to his artistic development, satirical representation of contemporary society, and lyrical expression. The volume also included Notas [Notes] at the end and a meticulously prepared Glossário [Glossary]. Overall, CP’s edition of Gil Vicente marked a significant advancement compared to all previous editions. In terms of critical rigour, it would only be surpassed by the edition published in 2002 under the scientific coordination of José Camões.

In the field of textual criticism, mention must also be made of the work CP carried out in collaboration with Aida Dias on the Cancioneiro Geral [General Songbook] by Garcia de Resende. This collaboration culminated in an edition published between 1973 and 1974. Building on this work, Aida Dias would later produce what is today considered the most reliable edition of the Cancioneiro resendiano [Resende’s Songbook], complete with a study, notes, and a dictionary of themes and authors.

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