Three moments remain from Camões’ theatrical experience: Hosts, Seleucus and Philodemus, amusing signs of those who allowed themselves to be seduced by an art that in the 16th century had its own cut and exclusive authors, but which also invited writers of poetry, such as Sá de Miranda, António Ferreira or Camões.

Ignored by the History of Literature and the History of Theatre until recently, Filodemo is nevertheless an exemplary case of the art of a poet. Expressed in a new comic style (prose) and in an old metre (redondilha maior), it expresses the philosophical problematisations that critics have become accustomed to discovering in the Lyric, conveyed here sometimes in an ironic and scathing tone, which he also uses in the Letters, transformed once again into theatrical invention.