_Njála_ and _Laxdæla_ are examples of two different ways in which inconvenient or distracting particulars of history or tradition might be reduced to serve the ends of imagination and the heroic design. _Njála_ keeps up, more or less, throughout, a continuous history of a number of people of importance, but always with a regard for the principal plot of the story. In _Laxdæla_ there is, on the other hand, a gradual approach to the tragedy of Kjartan, Bolli, and Gudrun; an historical prologue of the founding of Laxdale, and the lives of Kjartan's father and grandfather, before the chief part of the story begins. In _Njála_ the main story opens as soon as Njal appears; of prologue there is little more than is needed to prepare for the mischief of Hallgerda, who is the cause of the strain between the two houses of Lithend and Bergthorsknoll, and thereby the touchstone of the generosity of Njal. In _Laxdæla_, although the prologue is not irrelevant, there is a long delay before the principal personages are brought together. There is no mistake about the story when once it begins, and no question about the unity of the interest; Gudrun and Fate may divide it between them, if it be divisible. It is purely the stronger quality of this part of the book, in comparison with the earlier, that saves _Laxdæla_ from the defects of its construction; by the energy of the story of Kjartan, the early story of Laxdale is thrown back and left behind as a mere prelude, in spite of its length. The story of Egil Skallagrimsson, the longest of the biographical Sagas, shows exactly the opposite proportions to those of _Laxdæla_. The life of Egil is prefaced by the history of his grandfather, father, and uncle, Kveldulf, Skallagrim (Grim the Bald), and Thorolf. Unhappily for the general effect of the book, the life of Egil is told with less strength and coherence than the fate of his uncle. The most commanding and most tragic part of _Egla_ is that which represents Skallagrim and Thorolf in their relations to the tyranny of Harald the king; how Thorolf's loyalty was ill paid, and how Skallagrim his brother went in defiance to speak to King Harald. This, though it is only a prelude to the story of Egil, is one of the finest imaginative passages in the whole literature. The Saga has here been able to express, in a dramatic and imaginative form, that conflict of principles between the new monarchy and the old liberty which led to the Icelandic migration. The whole political situation, it might be said the whole early history of Iceland and Norway, is here summed up and personified in the conflict of will between the three characters. Thorolf, Harald the king, and Skallagrim play the drama of the Norwegian monarchy, and the founding of the Icelandic Commonwealth. After this compact and splendid piece of work the adventures of Egil Skallagrimsson appear rather ineffectual and erratic, in spite of some brilliant episodes.