The history of Glum, with its biographical unity, its interest of character, and its want of tragedy, is a form of story midway between the closer knit texture of _Gísla Saga_ and the laxity of construction in the stories without a hero, or with more than one, such as _Ljósvetninga_ or _Vatnsdæla_. It is a biography with no strong crisis in it; it might have been extended indefinitely. And, in fact, the existing form of the story looks as if it were rather carelessly put together, or perhaps abridged from a fuller version. The story in _Reykdæla_ of Viga Skuta, Glum's son-in-law and enemy, contains a better and fuller account of their dealings than _Glúma_, without any discrepancy, though the _Reykdæla_ version alludes to divergencies of tradition in certain points. The curious thing is that the _Reykdæla_ version supplies information about Glum's character which supplements what is told more baldly in his own Saga. Both accounts agree about Glum's good nature, which is practised on by Skuta. Glum is constant and trustworthy whenever he is appealed to for help. The _Reykdæla_ version gives a pretty confirmation of this view of Glum's character (c. 24), where Glum protects the old Gaberlunzie man, with the result that the old man goes and praises his kindness, and so lets his enemies know of his movements, and spoils his game for that time. This episode is related to _Glúma_, as the foster-brother episode of Grettir (c. 51), quoted above, is related to _Fóstbræðra Saga_. If _Glúma_ is interesting and even fairly compact, in spite of its want of any great dramatic moment, on the other hand the tragic ending is not always enough to save a story from dissipation of interest. In the story of Glum's antagonist, Viga Skuta, in the second part of _Reykdæla Saga_, there is no proportion or composition; his adventures follow one upon the other, without development, a series of hazards and escapes, till he is brought down at last. In the earlier part of the same Saga (the story of Vemund, Skuta's cousin, and Askel, Skuta's father) there is more continuity in the chronicle of wrongs and revenges, and, if this story be taken by itself, more form and definite design. The two rivals are well marked out and opposed to one another, while the mischief-making Vemund is well contrasted with his uncle Askel, the just man and the peacemaker, who at the end is killed in one of his nephew's feuds, in the fight by the frozen river from which Vemund escapes, while his enemy is drowned and his best friend gets a death wound. There are two Sagas in which a biographical theme is treated in such a way that the story produces one single impressive and tragical effect, leaving the mind with a sense of definite and necessary movement towards a tragic conclusion,--the story of Grettir the Strong, and the story of Gisli the Outlaw. These stories have analogies to one another, though they are not cast in quite the same manner.