speaker may be saying that Wulf has been her lover and her child's father, but has never treated her as or actually been her husband. Therefore, the complications of their relationship is easily unbound. However, this seems to be more easily done by Wulf than the speaker herself (Adams). While debatable among scholars, some argue the character of Wulf is the speaker's child and not her lover. In this instance, she could be lamenting after her son, hoping that he was okay, or mourning his death. One scholar says:In Wulf and Eadwacer a woman finds herself in a situation typical of Old English poetry, torn between conflicting loyalties. Many commentators see this particular situation as a sexual triangle, with Wulf the woman’s lover and Eadwacer her husband. If so, then Wulf and Eadwacer is not typical, because most Old English loyalty crises occur within the family group…It is…true that romantic or sexual love was not the literary commonplace before the twelfth century it has been since; other loves took precedence…The situation in Wulf and Eadwacer is far more typically Anglo-Saxon than as usually interpreted, if the speaker is understood to be the mother of the person she addresses as Wulf, as well as of the 'whelp' of line 16.His argument that Wulf is actually the narrator’s son gives a different depth to the elegy—it becomes a poem of mourning for her son that seems to be exiled or dead. Translations and adaptations Verse translations and adaptations 'Wulf', by Kevin Crossley-Holland, published in The Battle of Maldon and Other Old English Poems (1965). 'Wulf and Eadwacer', by Michael Alexander, published in The Earliest English Poems (1966). Craig Raine, in Rich (London: Faber, 1984), p. 27. 'Wulf and Eadwacer', by Fiona Sampson, published in Folding the Real (2001). 'Love's Medium', by Bernard O'Donoghue, published in Outliving (2003) to celebrate the marriage of two of his ex-students, Elanor Dymott and Simon Marshall. 'Wulf and Eadwacer', by Paul Muldoon, published in The Word Exchange: Anglo-Saxon Poems in Translation (2010). 'Four Departures from Wulf and Eadwacer', by Vahni Capildeo, first published in Utter (2013). 'Wulf and Eadwacer/Daylight is Our Evidence', by Kerry Carnahan, published in the Boston Review (2017). Carnahan uses the poem to explore the terror of white nationalism and violence against women. 'Wulf and Eadwacer', by Miller Wolf Oberman, published in The Unstill Ones (Princeton: Princeton University Press, 2017), pp. 6-8 and 57