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In Greek mythology, the Minotaur [b] (Ancient Greek: Μινώταυρος, Mīnṓtauros), also known as Asterion, is a mythical creature portrayed during classical antiquity with the head and tail of a bull and the body of a man [4] (p 34) or, as described by Roman poet Ovid, a being "part man and part bull".
Ariadne and the Minotaur: The Cultural Role of a Philosophy of Rhetoric Article by Andrea Battistini detailing Ariadne's thread as a philosophical metaphor; Philosophy in Labyrinths A study of the logic behind and meaning of labyrinths; includes rather literal interpretations of Ariadne's thread. Maso, Carole (2012). Mother & child: a novel.
The Three Witches represent evil, darkness, chaos, and conflict, while their role is as agents and witnesses. They appear to have a warped sense of morality, deeming seemingly terrible acts to be moral, kind or right, such as helping one another to ruin the journey of a sailor. Their presence communicates treason and impending doom.
The individual names of the youths that sailed to Crete together with Theseus are very poorly preserved in extant sources. All of the recoverable information is collected in W. H. Roscher's Ausführliches Lexikon der griechischen und römischen Mythologie, which provides four alternate lists of names. [6]
Catreus, Ariadne, Androgeus, Xenodice, Acacallis, Phaedra and Deucalion; the Minotaur In Greek mythology , Glaucus / ˈ ɡ l ɔː k ə s / ( Ancient Greek : Γλαῦκος Glaukos means "greyish blue" or "bluish green" and "glimmering") was a Cretan prince as the son of King Minos .
Lord Macbeth, the Thane of Glamis and quickly the Thane of Cawdor, is the title character and main protagonist in William Shakespeare's Macbeth (c. 1603–1607). The character is loosely based on the historical king Macbeth of Scotland and is derived largely from the account in Holinshed's Chronicles (1577), a compilation of British history.
"On the Knocking at the Gate in Macbeth" is an essay in Shakespearean criticism by the English author Thomas De Quincey, first published in the October 1823 edition of The London Magazine. It is No. II in his ongoing series "Notes from the Pocket-Book of a Late Opium Eater" which are signed, "X.Y.Z.". [ 1 ]
In Orson Welles' 1948 film adaptation of Macbeth, the role of King Duncan is reduced. 1.2 is cut entirely as well as generous portions of 1.4. King Duncan is seen briefly in 1.6 as he enters Macbeth's castle amid considerable pomp. The top of 1.4 with its description of Cawdor's execution has been transplanted to this scene.