(_Only works which translate at least thirty lines are noted._)
TEN BRINK, BERNHARD, AND KENNEDY, HORACE, in Early English Literature (to Wiclif). London and New York, 1883. Verse.
BROWN, ANNA R., in Poet Lore, II, 133, 185. Verse, ll. 26-53, and 1493-1571.
GUMMERE, F. B., in the American Journal of Philology, VII, 77, ll. 1-52. Verse.
---- in Germanic Origins (New York, 1892), pp. 109 ff. Verse.
LONGFELLOW, HENRY WADSWORTH, in Poets and Poetry of Europe, lines 18-40; 53-83; 189-257; 1789-1803; 2455-2462. Verse.
MORLEY, HENRY, in English Writers, I, pp. 287 ff. (second edition, London, 1887). Verse.
ROBINSON, W. CLARKE, in Introduction to our Early English Literature (London, 1885). Lines 87-98 (verse), and 1-52 (prose).
SMITH, C. SPRAGUE, in the New Englander, IV, p. 49. Lines 711-838; Section XII, Section XIII, 1493-1652; Section XXIII, Section XXIV. Verse.
SWEET, HENRY, in Warton's History of English Poetry, ed. W. Carew Hazlitt (London, 1877). Vol. II, pp. 11-12. Prose.
TOLMAN, A. H., in Transactions of the Modern Language Association, III, pp. 19 ff. In the 'Style of Anglo-Saxon Poetry.' Prose.
PALMER, BERTHA, in Stories from the Classic Literature of many Nations (New York, 1898), pp. 262-263. Beowulf's Fight with Grendel, using J. L. Hall's translation as a basis.
Beowulf, Roman von Karl Manno (pseud. Carl von Lemcke). In _Deutsche Roman-Zeitung_, Jahrg. 19, Bde. 1, 2. Berlin, 1882.
A modern romance, having no relation to the Old English poem.
Beowulf, a Poem by Samuel Harden Church. New York: Stokes and Co., 1901.
An original poem, using some of the Beowulf material.
After speaking of his original intention of translating the _Beowulf_, which he later discarded, the author says:--
'I have ... composed an original narrative in which the leading characters and some of the incidents of the early work[1] have been freely used, but as materials only. I have transferred to my hero, Beowulf, the picturesque history of Sceaf[2]; have changed the relationship of characters and incidents; have inserted the illumination of Beowulf's soul, and his banishment; and have introduced the love motive between Beowulf and Freaware that runs through the poem to the end. Indeed the structure, language, style, description, elaboration, interpretation, and development of the story are new. I have arbitrarily laid the scene in England, under purely idealized conditions; and have initiated nearly all that the poem contains of womanhood, of love, of religion, of state-policy, and of domestic life and manners. It is clear, therefore, that my work must not be judged either as a translation, version, or paraphrase of the old Beowulf.'