which allows us to surmise the unlimited possibilities hidden in the
saga literature, and the equally succinct manner of character drawing.

The most interesting figure in the drama is Brand, a Hamletic character
without a Hamlet's zest of retaliation--noble, generous, and beloved;
yet ever a loser, because never resolutely willing the means to an end.
As Thorolf avers scornfully, 'Brand lacks both the forethought _before_
battle, and that fire _in_ battle which wins the victory,' The reign
of lawlessness and bloodshed appalls him, to be sure; but he cannot
see that his own irresolution is one of the causes. 'He is sick in his
soul.' But 'peace'!--cries Broddi--'whenever was peace gotten in feuds,
excepting the battle be won or--lost.' And yet, by the irony of fate,
both his birth and his noble gifts make men look to Brand as Kolbein's
natural successor. The tigerish Kolbein himself is equaled in ruthless
pursuit of his own ends, but not in good fortune, by Broddi. As foils to
these larger characters stand out the mean, vengeful Einar, the brutal
Alf, the insolent but brave Thorolf. In Jorun we fancy we see the
living strength of Christian virtue and devotion opposed to the heathen
fierceness and self-seeking of Helga. Between the two parties the
bishop, whose motives and intentions are, however, not brought out with
sufficient clearness. Like the proverbial fifth wheel of a wagon he
seems out of place and embarrassing, whenever he appears--a predicament,
to be sure, which he shares with the Church itself in those times,
whenever not guided by a born ruler.

Both in poetic value and technically--excepting for the staginess of the
three meetings in the cave--the second act is the most successful of the
drama. It is, in fact, a little masterpiece. The action is impetuous,
strong, and telling. The dramatic germs potentially present in the
situation are developed here with a fine consistency. Thorolf's death