Although most of the section I read seemed to be grounded in reality and simply an exploration of a long family tree, there is an example of overlay landscapes present within. On page 69, when Unn and her company arrives at the head of the ford, she makes the decision to establish her home there (which she names Hvamm). The only reason given in the text was that she found that here high-seat pillars had floated ashore in this area. This falls in line with the tradition of the landscape as an entity indicating the characters where to go, and Unn’s decision demonstrates the wholehearted trust or reverence mankind has for it. This passage reminds me of other stories in which the landscape itself provides a sign to show a migrating people where they should settle. One prime example is the legend about the founding of the City of Tenochtitlan, in which an eagle perched on a cactus is an indicator from the landscape to the Aztec for where to build the city.

Another example of the overlay landscape is in page 92, at the beginning of Chapter 14, which reads that wise men talk about the importance of maintaining harmony in the fishing camps in the bay of Breidafjord. They say that dissension would cause poorer catches. This shows that there is a connection between the emotions of the people who fish there and what the landscape yields, as if the landscape is affected by those emotions. It also portrays the landscape as a force of justice by rewarding harmony and punishing dissension.