This is the case in the “Nota para a 2ª edição de Vinte poetas contemporâneos” [Note for the 2 nd edition of Twenty Contemporary Poets], from 1979 (1 st ed. 1960), or in the “Nota prévia” [Preliminary Note] de 1991 a to Tópicos recuperados: sobre a crítica e outros ensaios [Recovered Topics: On Criticism and Other Essays] (1992), a volume that recovers not only Tópicos de crítica e de história literária [Topics of Criticism and Literary History] (1969), but also essays from Motim literário [Literary Mutiny] (1962), Sobre viventes [On the Living] (1976) and Lâmpadas no escuro [Lamps in the Dark] (1979), to which he adds “two more” texts “unpublished in book form to date”. These are “Para uma teoria dos géneros literários” [Towards a theory of literary genres], dated 1948 (when he was only twenty-one years old; published in Seara Nova , 1950), and “Comparatismo e extraterritorialidade: Valéry Larbaud” [Comparativism and extraterritoriality: Valéry Larbaud], from 1989. In this period, bringing together texts from his youth and maturity, we once again see the organic way that characterises a way of thinking capable of looking critically at itself as a process, in that “polygonal vision of literature” (title of the 1963 essay, taken from Herculano’s view of history) and of himself, which runs transversally through his work. It should be noted that on many occasions the textual subject in the first person manifests himself, declining variations in the effect on his formation and in his taste of the authors to whom he devotes attention, without this implying the slightest slip in the rigour of the analysis he undertakes.

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