As representative of the Norse personality, the Sagas, like all national literature, bear a twofold testimony: that of their own literary qualities, and that of the characters which they portray. In the first place, a Saga is absolute narrative: it relates deeds, incidents, and sayings, in the manner and order in which they would strike the eye and ear of the listener, did the matter pass before him. The narrator offers no analysis of motives; he inserts no reflections upon characters and situations. He does not even relate the incidents from the vantage-ground of a full knowledge of them, but from the point of view of each instant’s impression upon the participants or onlookers. The result is an objective and vivid presentation of the story. Next, the Sagas are economical of incident as well as language. That incident is told which the story needs for the presentation of the hero’s career; those circumstances are given which the incident needs in order that its significance may be perceived; such sayings of the actors are related as reveal most in fewest words. There is nothing more extraordinary in these stories than the significance of the small incident, and the extent of revelation carried by a terse remark. For example, in the Gisli Saga, Gisli has gone out in the winter night to the house of his brother Thorkel, with whom he is on good terms, and there has slain Thorkel’s wife’s brother in his bed. In the darkness and confusion he escapes unrecognized, gets back to his own house and into bed, where he lies as if asleep. At daybreak the dead man’s friends come packing to Gisli’s farm: “Now they come to the farm, Thorkel and Eyjolf, and go up to the shut-bed where Gisli and his wife slept; but Thorkel, Gisli’s brother, stepped up first on to the floor, and stands at the side of the bed, and sees Gisli’s shoes lying all frozen and snowy. He kicked them under the foot-board, so that no other man should see them.”[195] This little incident of the shoes not only shows how near was Gisli to detection and death, but also discloses the way in which Thorkel meant to act and did act toward his brother: to wit, shield him so long as it might be done without exposing himself. Another illustration. The Njáls Saga opens with a sketch of the girl Hallgerda, so drawn that it presages most of the trouble in the story. There were two well-to-do brothers, Hauskuld and Hrut: