In the following essay, Sabat de Rivers explores the defining characteristics of Cruz's love sonnets.

In the following essay, Terry analyzes Juana Inès de la Cruz's treatment of divine and romantic love in her verse.

In the following essay, Paz traces the development of the villancico and surveys Cruz's poems in this genre.

In the following essay, Sabat de Rivers asserts that El sueño was written from a female perspective and discusses its feminine characteristics.

In the following essay, Flynn provides a stylistic and thematic overview of Cruz's poetry.

In the following essay, Paz explores the autobiographical aspects of Juana Inés de la Cruz's work and places her within the context of historical and political events of seventeenth-century Mexico.

In the following essay, Luciani places Juans Inés de la Cruz's burlesque sonnets within the context of the courtly love tradition.

In the following essay, Friedman offers a semiotic reading of three sonnets composed by Cruz.

In the following essay from 1955, Graves categorizes Cruz as a woman of poetic genius and compares her to other great female poets.

In the following essay, Nanfito explores the function of spatial forms and their interrelationships in Cruz's El sueño, asserting that the poem is "a dream of height which enables the reader to transport himself to the domain of the imaginary, to the cosmic realm of the infinite, where one is free to experience the dynamics and depth, the intensity and immediacy of the immanent and the intimate, both features of the fantastic landscape."

In the following essay, Rabin discusses the literary and political implications of Cruz's use of the blasón in her poetry.

In the following essay, Carrasco discusses Juana Ines de la Cruz's treatment of sexuality in Romance 48.

In the following essay, Luciani discusses stylistic elements of Cruz's panegyric poem to Condesa de Galve.

In the following essay, Nanfito examines Cruz's treatment of time and space in her most famous poem.