CRITICISM

Agheana, Ion Tudor. The Situational Drama of Tirso de Molina. New York: Plaza Mayar Ediciones, 1972, 135 p.

Full-length study concentrating on Tirso's artistic individuality.

Cabrera, Vicente. “Doña Ana's Seduction in El burlador de Sevilla.” Bulletin of the Comediantes 26, No. 2 (Fall 1974): 49-51.

Presents several critics' arguments for whether or not Don Juan seduced Doña Ana in El burlador de Sevilla, and concludes that Doña Ana was indeed seduced, which proves thematically important when Don Juan's day of reckoning finally comes.

Darst, David H. The Comic Art of Tirso de Molina. Chapel Hill: University of North Carolina Press, 1974, 117 p.

Concentrates on seven of Tirso's comedias, in particular those that deal with the spiritual growth of their main characters.

Kennedy, Ruth Lee. Studies in Tirso, I: The Dramatist and His Competitors, 1620-26. Chapel Hill: North Carolina Studies in the Romance Languages and Literatures, 1974, 394 p.

Compares the dramatic work of Tirso with that of such contemporaries as Antonio Hurtado, Lope de Vega, Luis Vélez, and Juan Ruiz de Alarcón.

MacKay, Dorothy Epplen. The Double Invitation in the Legend of Don Juan. Stanford, Calif.: Stanford University Press, 1943, 244 p.

Studies sources for Tirso's Don Juan and traces the evolution of the character in subsequent European literature.

Oakley, R. J. Tirso de Molina: El condenado por desconfiado. London: Grant & Cutler, Ltd., 1994, 142 p.

Full-length study of El condenado por desconfiado, with chapters on plot, characters, staging, language, verse form, sources, and themes.

O'Tuathaigh, Marie Gleeson. “Tirso's Pizarro Trilogy: A Case of Sycophancy or Lese-Majesty?” Bulletin of the Comediantes 38, No. 1 (Summer 1986): 63-82.

Argues that Tirso's Pizarro trilogy is an attack on the Spanish Empire, its government, and what the author believed to be a corrupt age.

Sola-Solé, Josep M. and George E. Gingras, eds. Tirso's Don Juan: The Metamorphosis of a Theme. Washington, D.C.: The Catholic University of America Press, 1988, 177 p.

Collection of eleven scholarly articles, all concentrating on the psychology and evolution of Tirso's most-recognized character, Don Juan of Seville.

Sullivan, Henry W. Tirso de Molina & the Drama of the Counter Reformation. Amsterdam: Editions Rodopi N. V., 1976, 193 p.

Focuses on the Counter-Reformation as cultural background for Tirso's work and includes chapters on Tirso's theory of drama, his use of language, and common elements found in his main characters.

———, and Raúl A. Galoppe, eds. Tirso de Molina: His Originality Then and Now. Ottawa: Dovehouse Editions Canada, 1996, 225 p.

Collection of twelve scholarly articles that concentrate on Tirso's originality within the context of his age, and that also seek to show the relevance of his artistic genius for today's theater.

Templin, E. H. “Another Instance of Tirso's Self-Plagiarism.” Hispanic Review 5, No. 2 (April 1937): 176-80.

Argues that Tirso “plagiarized” his own play La prudencia en la mujer in order to produce La república al revés.

———. “The ‘Burla’ in the Plays of Tirso de Molina.” Hispanic Review 8, No. 3 (July 1940): 185-201.

Seeks to explain the distinction between the burla and satire or burlesque, paying particular attention to El burlador de Sevilla.

Wade, Gerald E. “Tirso's Self-Plagiarism in Plot.” Hispanic Review 4, No. 1 (January 1936): 55-65.

Argues that Tirso “plagiarized” his own work far more often than he borrowed from other writers.

———. “The Character of Tirso's Don Juan of El Burlador de Sevilla: A Psychoanalytic Study.” Bulletin of the Comediantes 31, No. 1 (Spring 1979): 33-42.

Employs the Freudian psychoanalysis of Dr. Robert Stoller to examine the sexual deviancy of Don Juan.

Wilson, Margaret. Tirso de Molina. Boston: Twayne Publishers, 1977, 163 p.

Full-length study of Tirso's life and works.

Additional coverage of Tirso's life and career is contained in the following sources published by the Gale Group: Drama Criticism, Vol. 13 and Hispanic Literature Criticism Supplement.