This article continues the analysis of the categories “dramatic poet” and “playwright” based on the critical tradition on Fernando Pessoa, a task started in a paper published in the previous issue of this journal. In this article, I will not examine the work of critics who rejected this mode of reading proposed by Pessoa, but rather of those who incorporated it in their approaches to the author’s work. Thus, through the discussion of different critical approaches, I will try to demonstrate that these two notions configure less external elements to Pessoa’s work than one of its essential components.
