Tom Shippey, in The Road to Middle-earth (pp. 193–194) says that the hunting of the great wolf recalls the chase of the boar Twrch Trwyth in the Welsh Mabinogion, while the motif of 'the hand in the wolf's mouth' is one of the most famous parts of the Prose Edda, told of Fenris Wolf and the god Týr; while Huan recalls several faithful hounds of legend, Garm, Gelert, Cafall.
It was plotted from air photos by the Third German Antarctic Expedition (1938–39), mapped from surveys and air photos by the Sixth Norwegian Antarctic Expedition (1956–60), and because of its shape named Fenriskjeften (Fenrir's jaw), after the wolf in Norse mythology.
It was mapped from surveys and air photos by the Sixth Norwegian Antarctic Expedition (1956–60) and named Fenristunga (Fenrir's tongue) in association with Fenriskjeften Mountain.
Schapiro speculates that the image may have drawn from the pagan myth of the Crack of Doom, with the mouth that of the wolf-monster Fenrir, slain by Vidar, who is used as a symbol of Christ on the Gosforth Cross and other pieces of Anglo-Scandinavian art.
Fenrir |
The one that will be "the snatcher of the moon" is Mánagarmr (or Hati), and the "old woman" may refer to Fenrir's mother Angrboða.
The Midnight Fenrir Corp. pilots a small array of mass-produced MS (Mobile suits) that are either modified or replaced by newer models in the game.
A young boy named Jacob (Chris Young) is haunted by terrifying nightmares of what is to come, and his grandfather (William Hickey) explains these dreams through stories from Norse legend, which says that the only one who can destroy Fenrir is Týr, the Norse god of single combat, victory and heroic glory, who is prophesied to return to fight the creature.
Dumézil theorizes that these myths of Fenrir/Víðarr and Bali/Vishnu may have a common origin in an Indo-European God of spatiality, similar but distinct from the hypothetical framing or entry/exit God that spawned Janus and Heimdall.