The History of the Minotaur
by Zbigniew Herbert
The true history of the prince Minotaur is told in the yet undeciphered script Linear A. He was–despite later rumors–the authentic son of King Minos and Pasiphaë. The little boy was born healthy, but with an abnormally large head–which fortune-tellers read as a sign of his future wisdom. In fact with the years the Minotaur grew into a robust, slightly melancholy idiot. The king decided to give him up to be educated as a priest. But the priests explained that they couldn’t accept the feeble-minded prince, for that might diminish the authority of religion, already undermined by the invention of the wheel.
Minos then brought in the engineer Daedalus, who was fashionable in Greece at the time as the creator of a popular branch of pedagogical architecture. And so the labyrinth arose. Within its system of pathways from elementary to more and more complicated, its variations in levels and rungs of abstraction, it was supposed to train the Minotaur prince in the principles of correct thinking.
So the unhappy prince wandered along the pathways of induction and deduction, prodded by his preceptors, gazing blankly at ideological frescos. He didn’t get them at all. Having exhausted all his resources, King Minos resolved to get rid of this disgrace to the royal line. He brought in (again from Greece, which was known for its able men) the ace assassin Theseus. And Theseus killed the Minotaur. On this point myth and history agree.
Through the labyrinth–now a useless primer–Theseus makes his way back carrying the big, bloody head of the Minotaur with its goggling eyes, in which for the first time wisdom had begun to sprout–of a kind ordinarily attributed to experience.
Zbigniew Herbert's poem "The History of the Minotaur" offers a satirical reinterpretation of the classical myth, presenting it with elements of humor, irony, and critique on themes like education, authority, and the nature of wisdom.
Introduction: The poem starts by claiming the "true history" of the Minotaur, suggesting that the common myths might be misconceptions. It mentions Linear A, an undeciphered script from Minoan Crete, adding a layer of mystery or skepticism about historical truth.
Minotaur: Originally depicted as a monstrous creature in myth, here he is reimagined as the son of Minos and Pasiphaë, born with an oversized head, interpreted by fortune-tellers as a sign of wisdom. However, he grows into a melancholy idiot, contrasting with the expectations for his future.
Education: The Minotaur's education is a central theme. The labyrinth, created by Daedalus, is not just a prison but an educational tool meant to teach him the principles of correct thinking, metaphorically representing the convoluted nature of formal education or philosophy.
King Minos: He is portrayed as a pragmatic but ultimately uncaring ruler, who first attempts to integrate the Minotaur into society through religion (as a priest) and then education, only to decide to eliminate him when all else fails.
Daedalus: Known for his ingenuity in myth, here he's a creator of "pedagogical architecture," suggesting education as a complex, perhaps overly intellectualized, system.
Theseus: He's brought in as an "ace assassin," which contrasts with the hero narrative, focusing on his role as an executor of royal will rather than as a hero overcoming a monster.
Education and Intelligence: The poem critiques the educational system through the labyrinth, where the Minotaur fails to understand the complex pathways symbolizing perhaps the convoluted or inaccessible nature of formal education or philosophy.
Power and Authority: The refusal of the priests to accept the Minotaur due to his mental state reflects on how power structures maintain their authority by excluding those who might weaken their image or challenge their norms.
Futility and Tragedy: The Minotaur's journey through the labyrinth is ultimately futile, ending in his death, highlighting themes of misunderstanding, misjudgment, and the tragic consequences of such.
Wisdom and Experience: The final image of the Minotaur's head, with wisdom "sprouting" in his eyes, implies that true wisdom might come only through life's harsh lessons or at the point of death, too late to be of use.
Herbert uses satire to comment on human institutions like education and religion, showing them as potentially misguided or self-serving.
Herbert's retelling transforms the Minotaur from a mere beast into a tragic figure caught in the machinations of power, education, and human folly. This narrative invites readers to reconsider myths not just as tales of heroism but as reflections on human nature and societal structures.
The History of the Minotaur