Nidhogg's gnawing at Yggdrasil's root became one of Norse mythology's most durable images of a world sustained under continuous strain rather than secured once and settled. The Poetic Edda's Voluspo names Nidhogg again at the poem's very end, gnawing corpses and carrying the dead on its wings even after the cataclysm of Ragnarok, so the serpent's threat to the world tree is presented across more than one source as older than any single mythic crisis and as surviving beyond it. Modern popularizations of Norse myth have often treated Nidhogg as the story's antagonist in a simple sense, but scholars working from the primary poems caution that the sources give the serpent no personality, motive or narrative arc of its own, only a fixed and repeated activity at the tree's root, mentioned in passing rather than developed as a character the way Odin or Loki are. Read this way, the figure functions less as a villain to be defeated than as a standing image of decay working permanently against the structure that holds the nine worlds together, a threat the mythology never resolves because resolving it was never the point of including it in the first place, a contrast scholars draw with figures like Fenrir or Jormungand whose stories do reach a decisive, narrated end at Ragnarok.