In the following essay, Berthoff uses other criticism and Crane's own correspondence to evaluate the success or failure of The Bridge.

In the following essay, Butterfield attempts to account for the disunity within The Bridge by examining the circumstances surrounding its composition.

In the following essay, Rowe examines the "anti-poetic " nature of the primary symbol of the bridge.

In the following essay, Irwin focuses on the question of self and national origin in the "Indiana " section of The Bridge.

In the following essay, Dickie discusses the problems Crane encountered in dealing with the form of the long modernist poem.

In the following essay, Gardner discusses Crane's notion of racial and sexual identity in The Bridge.

In the following essay, Schwartz explains the fragmentation of The Bridge by discussing the ways in which Crane's temperament and training were actually unsuitable to the writing of such a poem.

In the following essay, Trachtenberg discusses The Bridge as a landmark of the 1920s cultural and aesthetic vision.

In the following essay, Slote defends The Bridge against critical charges of lacking structure, noting in particular Crane's own assertion that the poem is symphonic in structure rather than adhering to a traditional narrative form.}

In the following essay, Ramsey argues that readers must have a clear idea of the poetics of The Bridge in order to appreciate Crane's genius.

In the following essay, Schultz considers the use Crane made of the works T. S. Eliot and Walt Whitman in writing The Bridge.

In the following essay, Sharp considers The Bridge as a piece of modern music

In the following essay, Frank discusses the ways in which Crane represents the quintessential poet of modern America.

In the following essay, Chaffin contends that The Bridge is most properly read as exemplary of representations of the sublime in American literature.

In the following essay, Arpad attempts to "uncover the Platonic sources" for Crane's "myth of the Brooklyn Bridge. "

In the following essay, Cowley explains what he sees as two different ways to read The Bridge: "integrationists, " who assert that the poem has a unified plot and vision, and "dispersionists, " who believe that the poem is inherently and deliberately fragmented.

In the following commentary, which was written in 1948 but not published until 1996, Empson, Heringman, and Unterecker analyze the "consanguinity" of the narrator's lover and the sea in Hart Crane's poem "Voyages III."