The Minotaur is a Greek mythological figure.
The minotaur is a being born in the form of a man and a bull, born from the union between the wife of the king of Crete, Minos and a white bull sent as a gift by Poseidon, the god of the sea, who decides to show his benevolence in this way.Despite his man's legs, his animal nature made him wild and dangerous to the citizens. 
The myth of the minotaur has its roots in Crete: here reigned a king whose subjects he believed to be illegitimate, King Minos, son of the union between Zeus and Europa. Minos, worried about not being well seen by his citizens, asks the god of the sea Poseidon, a bull as a gift as a sign of the approval of his kingdom by Olympus.
The bull received as a gift from Poseidon was a beautiful white bull that Minos was supposed to sacrifice. Given the beauty of the animal, however, Minos decides not to sacrifice the bull and to use it for his herds. Poseidon, after discovering that Minos hadn't sacrificed the animal, decides to punish the king and make Minos' wife, Pasiphae, fall in love with the bull.
Daedalus had been initiated by Athena to the inventions of industry and art: for King Minos he built a palace from which it was impossible to get out, a large labyrinth made up of rooms, corridors, fake entrances and fake exits.
After the killing by the Athenians of Minos' son, Antrogeus, the king of Crete ordered that every year, for all the years, the city of Athens should send him, every year, seven fianciulli and seven maidens to be sacrificed to the minotaur who ate human flesh.
Legend has it that Ariadne fell in love with Theseus when he came to Crete to kill the Minotaur in the labyrinth. Ariadne gave Theseus a ball of wool (the proverbial Ariadne's thread) to be able to mark the path traveled in the labyrinth and then get out easily.
With the help of Ariadne's thread, he is trying to accomplish a feat never attempted before: crossing the labyrinth to defeat the Minotaur, also ensuring the possibility of going back out once the difficult feat is accomplished. In the same way we can say that in life, when confronted with our dark parts, we let ourselves be guided in the intricacies of our psyche, trusting in the fact that there is that thread, that relationship that binds us to others. Without that thread that connects the inside with the outside, fantasy with reality, our life would have no meaning, even for the mere fact of not being communicable and shareable. The thread binds us to the truth of the other, it creates an empathic significance, just like it happens to those who let themselves be captured and carried away by the seduction that only the encounter with the loved one can generate. But here the face of love is that of a destructive and fearsome monster.
Theseus fought the Minotaur with his bare hands and finally managed to break his neck. Then, following the thread, she made her way to the exit where the anxious Ariadne was waiting for her. Gathered the other young men, Ariadne and Theseus set sail for Greece. But the love story between the two comes to an end.
Theseus on the way back realized Ariadne's intentions to get married once they arrived in Athens. Theseus, for his part, had no intention of marrying, so he implemented a stratagem to get rid of the woman.
With the excuse of having to stock up, he decided to stop at the island of Naxos. In the middle of the night while Arianna was sleeping, she silently got back on the ship, abandoning the poor thing. Perhaps the term abandoning comes from the abandonment of Ariadne in Naxos.
Upon awakening Arianna does not find her beloved Theseus, nor the ship and swollen with anger and pain she began to cry for days and days. Her cries resounded throughout the island until the god Dionysus found her and married her. As a wedding present, he gave her a diadem forged by Hephaestus which upon his death was transformed into the constellation of the northern crown. Meanwhile Theseus returned to his homeland but forgot to change the sails, so his father Aegeus, believing that his son had died in the enterprise, threw himself from the rocks of the Acropolis into the sea that has since taken his name. Theseus became king and ruled wisely over his people.
Each author tells a different version of the meeting between Theseus, Ariadne and the Minotaur but, as we know, the Greek myth is only a sort of canvas, a plot that changes according to the readings of the artists or the reworkings of the peoples. Variants and ramifications overlap the initial structure and over the centuries it is transformed to the point that it is difficult to reconstruct the original nucleus.
What is certain is that evidence of the struggle between the Minotaur and Theseus has been handed down since ancient times: on an amphora from Tinos, in the Cyclades, dating back to 670-660 BC, there is the oldest proof of the clash between the monster and the hero, even if here the Minotaur is a being with a bull's body and a human head. And a fragment of Sappho, recalls the classicist Giorgio Ieranò, attests to knowledge of the blood tribute requested of the Athenians by Minos.


The word "labyrinth" probably derives from the medieval English word "mæs", which means delusion or delusion. There is a similar term called “labyrinth”, which dates back to the 14th century, from the Latin “labyrinthus” and from the Greek “labýrinthos”, which expresses a building with intricate passages.
The adventure of the labyrinth has a meaning of symbolic death, a journey into the underworld, a journey into the afterlife. The way inland also symbolizes the way down at the same time and the victorious exit from the labyrinth can be compared to re-emerging from the surface of the sea.

In the labyrinth there is an almost perfect materialization of the initiation process. At the center of the labyrinth, the beginning is only with its inner reality, it meets itself, a divine principle, a mythological monster or anything else that can be represented by a "center". In any case, the center also means the place and the possibility of a knowledge so fundamental as to require a radical change of direction.

At the center, death and rebirth take place. The way to the center of the labyrinth symbolizes the way to the underworld, where the return to mother Earth is connected with the hope of a rebirth. The maze seems to take the form of a symbolic exchange in which death and life are the doubling of the same reality.

The labyrinth, as the most ancient cults show, is actually the graphic representation of the life cycle; it is an image of the supernatural and underworld world where higher mysteries and truths are hidden. A world towards which we necessarily walk.

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