Ll: Labrynth

In Greek mythology, the Labyrinth (Gk. λαβύρινθος labyrinthos) was an elaborate structure constructed for King Minos of Crete and designed by the legendary artificer Daedalus to hold the Minotaur, a creature that was half man and half bull and which was eventually killed by the Athenian hero Theseus. Daedalus had made the Labyrinth so cunningly that he himself could barely escape it after he built it.[1] Theseus was aided by Ariadne, who provided him with a fateful thread, literally the "clew," or "clue," to wind his way back again.

The term labyrinth is often used interchangeably with maze, but modern scholars of the subject use a stricter definition. For them, a maze is a tour puzzle in the form of a complex branching passage with choices of path and direction; while a single-path ("unicursal") labyrinth has only a single Eulerian path to the center. A labyrinth has an unambiguous through-route to the center and back and is not designed to be difficult to navigate.

This unicursal design was wide-spread in artistic depictions of the Minotaur's Labyrinth even though both logic and literary descriptions of it make it clear that the Minotaur was trapped in a multicursal maze.[2]

A labyrinth can be represented both symbolically and/or physically. Symbolically it is represented in art or designs on pottery, as body art, etched on walls of caves, etc. Physical representations are common throughout the world, and are generally constructed on the ground so they may be walked along from entry point to center and back again. They have historically been used in both group ritual and for private meditation.
Ancient labyrinths
Pliny's Natural History mentions four ancient labyrinths: the Cretan labyrinth, an "Egyptian labyrinth", a "Lemnian labyrinth" and an "Italian labyrinth".

"Labyrinth" is a word of pre-Greek ("Pelasgian") origin absorbed by classical Greek, and is perhaps related to the Lydian "labrys" ("double-edged axe," a symbol of royal power, which fits with the theory that the labyrinth was originally the royal Minoan palace on Crete and meant "palace of the double-axe"), with -inthos meaning "place" (as in "Corinth"). The complex palace of Knossos in Crete is usually implicated, though the actual dancing-ground, depicted in frescoed patterns at Knossos, has not been found. Something was being shown to visitors as a labyrinth at Knossos in the 1st century AD (Philostratos, De vita Apollonii Tyanei iv.34, noted in Kerenyi, p 101 n. 171)

Greek mythology did not recall, however, that in Crete there was a Lady who presided over the Labyrinth. A tablet inscribed in Linear B found at Knossos records a gift "to all the gods honey; to the mistress of the labyrinth honey." All the gods together receive as much honey as the Mistress of the Labyrinth alone. "She must have been a Great Goddess", Kerenyi observes (Kerenyi 1976 p 91).

That the Cretan labyrinth had been a dancing-ground and was made for Ariadne rather than for Minos was remembered by Homer in Iliad xviii.590–593 where, in the pattern that Hephaestus inscribed on Achilles' shield, one incident pictured was a dancing-ground "like the one that Daedalus designed in the spacious town of Knossos for Ariadne of the lovely locks". Even the labyrinth dance was depicted on the shield, where "youths and marriageable maidens were dancing on it with their hands on one another's wrists... circling as smoothly on their accomplished feet as the wheel of a potter...and there they ran in lines to meet each other."

The labyrinth is the referent in the familiar Greek patterns of the endlessly running meander, to give the "Greek key" its common modern name. In the 3rd century BCE coins from Knossos were still struck with the labyrinth symbol. The predominant labyrinth form during this period is the simple 7-circuit style known as the classical labyrinth.

The term labyrinth came to be applied to any unicursal maze, whether of a particular circular shape (illustration) or rendered as square. At the center, a decisive turn brought one out again. In the Socratic dialogue that Plato produced as Euthydemus, Socrates describes the labyrinthine line of a logical argument:
Then it seemed like falling into a labyrinth: we thought we were at the finish, but our way bent round and we found ourselves as it were back at the beginning, and just as far from that which we were seeking at first. Thus the present-day notion of a labyrinth as a place where one can lose [his] way must be set aside. It is a confusing path, hard to follow without a thread, but, provided [the traverser] is not devoured at the midpoint, it leads surely, despite twists and turns, back to the beginning. (Kerenyi, p. 91.)
Herodotus' "Egyptian labyrinth"
Even more generally, "labyrinth" might be applied to any extremely complicated maze-like structure. Herodotus, in Book II of his Histories, describes as a "labyrinth" a building complex in Egypt, "near the place called the City of Crocodiles," that he considered to surpass the pyramids in its astonishing ambition:
It has twelve covered courts — six in a row facing north, six south — the gates of the one range exactly fronting the gates of the other. Inside, the building is of two storeys and contains three thousand rooms, of which half are underground, and the other half directly above them. I was taken through the rooms in the upper storey, so what I shall say of them is from my own observation, but the underground ones I can speak of only from report, because the Egyptians in charge refused to let me see them, as they contain the tombs of the kings who built the labyrinth, and also the tombs of the sacred crocodiles. The upper rooms, on the contrary, I did actually see, and it is hard to believe that they are the work of men; the baffling and intricate passages from room to room and from court to court were an endless wonder to me, as we passed from a courtyard into rooms, from rooms into galleries, from galleries into more rooms and thence into yet more courtyards. The roof of every chamber, courtyard, and gallery is, like the walls, of stone. The walls are covered with carved figures, and each court is exquisitely built of white marble and surrounded by a colonnade.
Pliny's "Lemnian labyrinth"
Pliny's Natural History (36.90) lists the legendary Smilis, reputed to be a contemporary of Daedalus, together with the historical mid sixth-century BCE architects and sculptors Rhoikos and Theodoros as two of the makers of the "Lemnian labyrinth", which Andrew Stewart (One Hundred Greek Sculptors: Their Careers and Extant Works, "Smilis") regards as "evidently a misunderstanding of the Samian temple's location en limnais, "in the marsh".
Pliny's "Italian labyrinth"
According to Pliny, the tomb of the great Etruscan general Lars Porsena contained an underground maze. Pliny's description of the exposed portion of the tomb is intractable; Pliny, it seems clear, had not observed this structure himself, but is quoting the historian and Roman antiquarian Varro.
Ancient labyrinths outside Europe
At about the same time as the appearance of the Greek labyrinth, a topologically identical pattern appeared in Native American culture, the Tohono O'odham labyrinth which features I'itoi, the "Man in the Maze". The Tonoho O'odham pattern has two distinct differences from the Greek: it is radial in design, and the entrance is at the top, where traditional Greek labyrinths have the entrance at the bottom (see below).

A prehistoric petroglyph on a riverbank in Goa shows the same pattern and has been dated to circa 2500 BCE. Other examples have been found among cave art in northern India and on a dolmen shrine in the Nilgiri Mountains, but are difficult to date accurately. Early labyrinths in India all follow the Classical pattern; some have been described as plans of forts or cities [1]. Labyrinths appear in Indian manuscripts and Tantric texts from the 17th century onward. They are often called "Chakravyuha" in reference to an impregnable battle formation described in the ancient Mahabharata epic.
Labyrinth as pattern
In antiquity the less complicated labyrinth pattern familiar from medieval examples was already developed. In Roman floor mosaics the simple classical labyrinth is framed in the meander border pattern, squared off as the medium requires, but still recognisable. Often an image of a bull-man, a minotaur, appears in the centre of these mosaic labyrinths. Roman meander patterns gradually developed in complexity towards the fourfold shape that is now familiarly known as the medieval form. The labyrinth retains its connection with death and a triumphant return: at Hadrumentum in North Africa (now Sousse), a Roman family tomb has a fourfold labyrinth mosaic floor, with a dying Minotaur in the center and a mosaic inscription: HICINCLUSUS.VITAMPERDIT "Enclosed here, he loses life" (Kerenyi, fig.31).




Earliest recovered labyrinth, incised on a clay tablet from Pylos.

Medieval labyrinths and "turf mazes"
The full flowering of the medieval labyrinth design came about during the twelfth and thirteenth centuries with the grand pavement labyrinths of the gothic cathedrals, most notably Chartres and Amiens in Northern France and the Duomo di Siena in Tuscany. It is this version of the design that is thought to be the inspiration for the many secular turf mazes in the UK, such as survive at Wing, Rutland, Hilton, Cambridgeshire, Alkborough (North Lincolnshire), and at Saffron Walden in Essex.

Over the same period some 500 or more non-ecclesiastical labyrinths were constructed in Scandinavia. These labyrinths, generally in coastal areas, are marked out with stones most often in the simple classical form. They often have names which translate as "Troy Town". They are thought to have been constructed by early fishing communities, to trap malevolent trolls/winds in the labyrinth's coils in order to ensure a safe fishing expedition. There are also stone labyrinths on the Isles of Scilly, although none of them is known to date back as far as the Scandinavian ones.

There are remarkable examples of the labyrinth shape from a whole range of ancient and disparate cultures. The symbol has appeared in all its forms and media (petroglyphs, classic-form, medieval-form, pavement, turf and basketry) at some time, throughout most parts of the world, from Java, Native North and South America, Australia, India and Nepal.
Modern labyrinths
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Labyrinth at St. Lambertus, Mingolsheim, Germany.
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Labyrinth on floor of Grace Cathedral, San Francisco.
In recent years, there has been a resurgence of interest in the labyrinth symbol, which has inspired a revival in labyrinth building, notably at Willen Park, Milton Keynes; Grace Cathedral, San Francisco; Tapton Park, Chesterfield; and the Labyrinth in Shed 16 in the Old Port of Montreal.A labyrinth is a series of events happening at one time or another. If there were seven or more series of events then they would be called a septibrinth.

Countless computer games depict mazes and labyrinths.

On bobsled, luge, and skeleton tracks, a labyrinth is where there are three to four curves in succession without a straight line in between any of the turns.
Modern takes on Greek labyrinth
In modern imagery, the labyrinth is often confused with the maze, in which one may become lost.

The myth of the labyrinth has in recent times found incarnation in a stage play by Ilinka Crvenkovska which explores notions of a man's ability to control his own fate. Theseus in an act of suicide is killed by the Minotaur, who is himself killed by the horrified townspeople.

The Argentine writer Jorge Luis Borges was entranced with the idea of the labyrinth, and used it extensively in his short stories. His use of it has inspired other authors' works (e.g. Umberto Eco's The Name of the Rose, Mark Z. Danielewski's House of Leaves). Additionally, Roger Zelazny's fantasy series, The Chronicles of Amber, features a labyrinth, called "the Pattern," which grants those who walk it the power to move between parallel worlds. The avant-garde multi-screen film, In the Labyrinth, presents a search for meaning in a symbolic modern labyrinth.

The labyrinth is also an important subject in contemporary fine arts. Remarkable 20th-century examples include Piet Mondrian's Dam and Ocean (1915), Joan Miro's Labirynth (1923), Pablo Picasso's Minotauromachia (1935), M.C. Escher's Relativity (1953), Friedensreich Hundertwasser's Labyrinth (1957), Jean Dubuffet's Logological Cabinet (1970), Richard Long's Connemara sculpture (1971), Joe Tilson's Earth Maze (1975), Richard Fleischner's Chain Link Maze (1978), István Orosz's Atlantis Anamorphosis (2000), and Dmitry Rakov's Labyrinth (2003).
Cultural meanings
Prehistoric labyrinths are believed to have served as traps for malevolent spirits or as defined paths for ritual dances. In medieval times, the labyrinth symbolized a hard path to God with a clearly defined center (God) and one entrance (birth).

Labyrinths can be thought of as symbolic forms of pilgrimage; people can walk the path, ascending toward salvation or enlightenment. Many people could not afford to travel to holy sites and lands, so labyrinths and prayer substituted for such travel. Later the religious significance of labyrinths faded, and they served primarily for entertainment, though recently their spiritual aspect has seen a resurgence.

Many newly-made labyrinths exist today, in churches and parks. Labyrinths are used by modern mystics to help achieve a contemplative state. Walking among the turnings, one loses track of direction and of the outside world, and thus quiets his mind. The result is a relaxed mental attitude, free of internal dialog. This is a form of meditation. Many people believe that meditation has health benefits as well as spiritual benefits. The Labyrinth Society provides a locator for modern labyrinths in North America.