In this saga we have what appears to be the history of a certain family for more than four generations. From the point of view of construction, the story can hardly be regarded as a success. Yet it contains scenes at least equal to any others which can be found among sagas of this kind. It also embodies a considerable amount of poetry which is not found elsewhere. Some of this is of high merit, and one piece, dealing with the battle between the Huns and the Goths, is evidently of great antiquity. The Saga opens in a purely mythical milieu--with Guthmund in Glasisvellir, to whom we have already had reference in the story of Nornagest. Next we have a typical story of the Viking Age--the adventures of the sons of Arngrim and their fight on Sams¯. This story is known to us from other sources, the earliest being the poem _HyndluljÛth_ (str. 24), which according to Finnur JÛnsson[9] cannot be later in date than the latter part of the tenth century, though Mogk[10] is inclined to doubt this. Other references occur in the _Saga of ÷rvar-Odd_, Saxo's _Danish History_, the later ballads translated below, etc. We then pass on to the account of Hervˆr, the daughter of Angantyr (which is only found here and in the ballads), and the striking poem in which she is represented as visiting her father's grave-mound to obtain his sword. The next and longest section contains the life of Hervˆr's son Heithrek, which is peculiar to this saga and which in its earlier part likewise seems to be a story of the Viking Age. Towards the end, however, it gradually dawns upon us that there has been an unconscious change of scene, and that Heithrek instead of being a Viking prince of the Northern coasts, is now represented as a King of the Goths, somewhere in the East of Europe--apparently in the neighbourhood of the Dnieper. In the last section of the story, dealing with the adventures of Angantyr and Hlˆth, the sons of Heithrek, there is no longer any reminiscence of the Viking Age or the North of Europe. Here we are away back among the Goths and Huns in the fifth or the latter part of the fourth century. Throughout this strange concatenation of scenes a connecting link is afforded by the magic flaming sword, which is handed on from generation to generation, and which can never be sheathed without having dealt a death wound. It is abundantly clear that the latter part of the story is of a totally different origin from the first part, and in reality many centuries earlier. The prose here is for the most part little more than a paraphrase of the poem, which probably has its roots in poetry of the Gothic period. But how this story came to be joined on to a narrative of the Viking Age is far from clear.