DOCSLIB.ORG

The Minotaur in Which Theseus Enters a Labyrinth to Find a Monster

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Fact Sheet The Minotaur In which Theseus enters a labyrinth to find a monster Many moons ago, when the land was still young, the isle of Crete was ruled by the King Asterion. When he died, it was not clear which of his sons should take the throne. Minos, whose name actually means king, asserted that the right to the throne was his as, it was the will of the gods that he should rule. As proof of this, he claimed that whatever he prayed for, the gods would provide. One day, as Minos was making a sacrifice to Poseidon, the god of the ocean, he prayed that a bull should emerge from the depths of the sea. In return, he would sacrifice that bull in Poseidon’s honour. When a magnificent bull arose from the sea, Minos’ claim was proved. Minos’ brothers, Sarpedon and Rhadamanthus, did not dare to defy the gods and relinquished their claims to the throne. Having gained power, Minos banished his brothers from Crete. However, he did not Greek Myths: The Minotaur | Page 1 copyright 2019 Fact Sheet fulfill his promise to Poseidon. The bull was such a superb beast that he decided to sacrifice a lesser creature in its place. Poseidon was so angered by this betrayal that he conspired with the goddess Aphrodite to punish the king. When Minos’ wife gave birth, the child she bore was like no other; it had the head and tail of a bull. The queen named her child Asterion, but as it grew the people gave it a new title: Minotaur. As a bull calf the creature could be kept and nourished within the castle walls. But as it grew, so did its strength, its ferocity and its appetite. Unable to find a suitable source of food, the Minotaur began to eat people. Minos wanted to have the beast killed but feared that this might anger the gods. Under the advice of an oracle, he ordered that a large maze called a labyrinth should be constructed to hold his son. The craftsman Daedalus built a labyrinth underground. Such was his cunning, that the maze’s design was so intricate even he had difficulty finding his way out. The Minotaur was banished into the labyrinth’s depths to be hidden from view of the palace. The beast would happily have been forgotten about, had the walls of the palace not shaken to his great roars of hunger; roars that would only be silenced if fresh victims were sent into his lair at regular intervals. King Minos had another son, a human boy called Androgeos. Androgeos was a gifted athlete. When he competed in the Panathenic Games in Athens, the Athenians were so jealous of his skill that they had him killed. Minos swore revenge for this act and sent his armies sailing across the sea to exact vengeance on the Athenians. The armies of Athens were no match for those of Crete. There was only one way that Aegeus, the Athenian king, was able to save his people. He was forced to pay the Cretans a cruel tribute: each nine years he would have to send nine maidens and nine youths to Crete as tribute. The tribute would be led into the labyrinth. There they would wander the endless stone corridors, lost and confused, until they encountered the Minotaur. The beast would devour each one of them. Twice King Aegeus guiltily watched as his boat left the Athenian Greek Myths: The Minotaur | Page 2 copyright 2019 Fact Sheet harbour taking some of his people to their deaths. He knew that the tribute he paid was too much, but he also knew that the strength of the Cretan navy was too much for his kingdom. As the time for the third tribute approached, his son Theseus came to him and said, “Father, I too am young. Include me as part of the tribute. Let me journey to Crete, slay the Minotaur and end the misery of our people.” Theseus promised that, were he victorious, he would return to Athens with the ship flying white sails to signify his victory. If he failed or was killed, the crew were to return with black sails raised. Aegeus was aware of the feelings of discontent which had brewed in the hearts of his citizens ever since the first tribute. He knew that the crown he wore could easily be wrested from his head, should the mood of the people change. His heart was heavy as he agreed to include Theseus in the next tribute. When Theseus arrived in Crete, the daughters of Minos, Ariadne and Phaedra, fell deeply in love with him. Unable to cope with the idea of Theseus being eaten by the Minotaur, Ariadne went to the master craftsman Daedalus for help. Daedalus gave Araidne a ball of string. Theseus would be able to use the string to navigate his way out of the labyrinth. Theseus accepted the string and the next morning, was thrust into the labyrinth with his fellow Athenians. Upon entering the maze, he tied one end to the wooden door and the other around his wrist. As the tribute descended into the shadowy depths of the maze, the string trailed behind him, showing the way back to freedom. The string was not the only thing which Ariadne had given Theseus. In his hand, he clutched a sword. Theseus did not know how long they wandered the labyrinth but eventually, all paths led to the furthest corner of the maze and the lair of the Minotaur. The beast stood waiting in a room littered with bones. It had smelt Theseus’ approach and the scent of the Greek Myths: The Minotaur | Page 3 copyright 2019 Fact Sheet young man awoke a great hunger in his belly; the bones of its earlier victims were long since picked clean. Theseus also knew that he was getting closer to the Minotaur and secreted himself in a twist of the maze. He called out to the creature, taunting it, and it charged. So great was the Minotaur’s speed that it was unable to slow down as it approached Theseus. He leapt out of the way of the mighty horns and the beast crashed into the stone wall. While it was still stunned from the impact, Theseus thrust his sword forward. The blade pierced the beast’s side it fell to the ground. The Minotaur let out a great bellow which shook the walls of the maze and then it fell silent. It had claimed its last victim. Using Ariadne’s gift, Theseus was able to retrace his path through the labyrinth and back to the wooden door. Here, Ariadne was anxiously waiting for him. “Princess, without your help, I would not have survived the labyrinth,” he said. “How can I repay you?” “Take me back to Athens with you,” came the reply, “and I shall be your bride.” With Ariadne, Phaedra and the other Athenians, Theseus set sail to return to Athens. The journey was long, and the ship stopped at the island of Naxos to gather supplies. Theseus watched as Ariadne walked to the end of the beach, paddling in the waves. “Set sail,” he instructed the boat’s captain, “ as fast as you can.” The boat swiftly left the shores of Naxos and Ariadne behind. Theseus was overjoyed, for Phaedra had agreed to be his wife. His cruel laughter carried far and was heard by Poseidon. The god was so angered by Theseus’ betrayal that he sent a storm to the boat. The white sails, ripped and torn, fell into the sea. The boat’s captain was forced to replace them with the black sails. After his adventures, Theseus forgot what the black sails were meant to portend. As his boat sailed into the Athenian harbour, the news soon reached his father that the black sails were flying. Aegeus was so overcome with grief that he took himself to the highest cliff overlooking the harbour and leapt to his death. Greek Myths: The Minotaur | Page 4 copyright 2019.
Recommended publications
  • Hamilton's Theseus.Pdf

    Hamilton's Theseus.Pdf

    '1 I\!I, 208 Mythology lnstantlysaw his opportunity. He went straight to the pal- ace and entered the hall. As he stood at the entrance, Athena's shining buckler on his breast, the silver wallet at his side, he drew the eyes of every man there. Then before 1\' any could look away he held up the Gorgon's head; and at the sight one and all, the cruel King and his servile courtiers, were turned into stone. There they sat, a row of statues, each, ! as it were, frozen stiff in the attitude he had struck when he first saw Perseus. CHAPTER II When the islanders knew themselves freed from the tyrant it was-easyfot Perseus to find Danae and Dictys. He made Theseus Dictys king of the island, but he and his mother decided that This dearest of heroes to the Athenians engaged the atten- they would go back with Andromeda to Greece and try to tion of many writers. Ovid, who lived in the Augustan Age, be reconciled to Acrisius, to see if the many years that had tells his life in detail and so does Apollodorus, in the first or passed since he had put them in the chest had not softened second century A.D. Plutarch, too, toward the end of the fi·rst century A.D. He is a prominent character in three of Eurip- him so that he would be glad to receive his daughter and ides' plays and in one of Sophocles. There are many allusions grandson. When they reached Argos, however, they found to him in ptose writers as well as poets.
  • Bacchylides 17: Singing and Usurping the Paean Maria Pavlou

    Bacchylides 17: Singing and Usurping the Paean Maria Pavlou

    Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C.
  • Ruins of the Temple of Heracles at Agrigento in Sicily. (Wikimedia Commons

    Ruins of the Temple of Heracles at Agrigento in Sicily. (Wikimedia Commons

    Ruins of the Temple of Heracles at Agrigento in Sicily. (Wikimedia Commons. Photo by José Luiz) ERCULES (also known as Heracles) tually overpowered it (Figure 3) and their own master. With their appetites Hhad been told by the oracle at Delphi brought it to Greece. This labour of satisfied Heracles was able to control that if he accomplished the tasks set for Her acles might reflect the subjugation them (Figure 4) and with his way of him by Eurystheus, the king of Mycenae, of the Minoan civilization on Crete by dealing with them they were no further he would gain immortality. Part I dealt conquerors from Greece in about 1450 trouble. with the first six of these labours and BC. The Ninth Labour was to obtain Part II will deal with the remaining six. The Eighth Labour was to capture Hippolyte’s girdle. Hippolyte was the The Seventh Labour was to capture the four wild mares that belonged to queen of the Amazons, who were female the Cretan bull. This was a large bull Diomedes, who ruled the fierce tribe of warriors in Asia Minor. The word ‘ama - that terrorized the people of Crete. (Fig - the Bistones in Thrace. The horses lived zon’ means ‘no breast’, and these women ure 1 – map) Some say it was the bull on human flesh and terrorized the had their right breast cut off when they that carried Europa on its back from country. Heracles gathered a band of were young so that they were better Phoenicia to Crete. Others say it was volunteers and went to Thrace.
  • Waiting for Redemption in the House of Asterion: a Stylistic Analysis

    Waiting for Redemption in the House of Asterion: a Stylistic Analysis

    Open Journal of Modern Linguistics 2012. Vol.2, No.2, 51-56 Published Online June 2012 in SciRes (http://www.SciRP.org/journal/ojml) http://dx.doi.org/10.4236/ojml.2012.22007 Waiting for Redemption in The House of Asterion: A Stylistic Analysis Martin Tilney Macquarie University, Sydney, Australia Email: [email protected] Received February 20th, 2012; revised March 7th, 2012; accepted March 15th, 2012 The House of Asterion is a short story by Jorge Luis Borges that retells the classical myth of the Cretan Minotaur from an alternate perspective. The House of Asterion features the Minotaur, aka Asterion, who waits for “redemption” in his labyrinth. Many literary critics have suggested that the Borgesian labyrinth is a metaphor for human existence and the universe itself. Others have correctly interpreted Asterion’s ironic death at the hands of Theseus as his eagerly awaited redemption. Borges’ subversion of the reader’s expectations becomes the departure point for a systemic functional stylistic analysis of the story in one of its English translations, revealing how deeper-level meanings in the text are construed through its lexico- grammatical structure. A systemic functional stylistic reading suggests that on a higher level of reality, Asterion’s redemption is not only the freedom that death affords, but also a transformation that transcends his fictional universe. Asterion’s twofold redemption is brought about not only by the archetypal hero Theseus but also by the reader, who through the process of reading enables Asterion’s emancipation from the labyrinth. Keywords: The House of Asterion; Borges; Minotaur; Labyrinth; Systemic Functional; Stylistic Introduction the latter half of the twentieth century (for a detailed discussion of the difference between the terms “postmodernity” and Argentinean writer Jorge Luis Borges (1899-1986) is best “postmodernism” see Hassan, 2001).
  • Mary Reid Kelley L the Minotaur Trilogy

    Mary Reid Kelley L the Minotaur Trilogy

    Mary Reid Kelley l The Minotaur Trilogy 12. March, 2016 - 16. April, 2016 Arratia Beer is pleased to present The Minotaur Trilogy, the first solo exhibition by Mary Reid Kelley with the gallery. Working primarily in video, Mary Reid Kelley’s meticulously composed scripts contest conventions of written language and spoken word, fluctuating between comic and tragic interpretation. Often parodically borrowing structure from Alexander Pope’s heroic couplets or the anapestic meter of Lewis Carroll, the videos fractured narratives reflect their characters’ deluded, perilous states. In her videos the artist usually plays all the roles, disguised through a distinctive monochromatic palette, wigs and heavy make-up. Made in collaboration with Patrick Kelley, her videos are elaborate constructions which include live-action performance; props and set design; drawing, graphic animation and printed word. Comprised by three films – Priapus Agonistes (2013), Swinburne’s Pasiphae (2014) and The Thong of Dionysus (2015) – The Minotaur Trilogy explores the mythological creature’s tragic family tree. The trilogy fuses classical drama, modern literature and contemporary pop culture into razor-sharp observations on gender, class, and urban development. They satirize the promise of progress through dense layering of cultural references ranging from Southern church socials and Women’s Magazines to Borges and Baudelaire. Priapus Agonistes condenses elements of Greek drama and mythology with details of the church volleyball tournaments that the artist witnessed as a child. The Minotaur is re-imagined as a lost daughter in a labyrinthine gymnasium basement, her sacrifices coming in the form of members of the losing volleyball team. Like Jorge Luis Borges’ portrait of the Minotaur as anti-hero in The House of Asterion, the Minotaur of Priapus Agonistes is hopelessly lost in an environment of repetitive space, using the murdered sacrifices as landmarks to help her navigate a path to the lavatory.

  • 5.5 X 10 Long Title.P65

    Cambridge University Press 978-0-521-67827-8 - Euripides: Hippolytus Ben Shaw Excerpt More information List of characters APHRODITE goddess of love (also called Cypris) HIPPOLYTUS son of Theseus HUNTSMEN followers of Hippolytus SERVANT a member of the royal household at Trozen CHORUS women of Trozen NURSE Phaedra’s attendant PHAEDRA wife of Theseus THESEUS king of Athens and Trozen MESSENGER one of Hippolytus’ attendants ARTEMIS goddess of chastity and hunting 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-67827-8 - Euripides: Hippolytus Ben Shaw Excerpt More information PROLOGUE (1–117) Euripides’ prologues introduce elements of plot which explain the situation as the play begins. In Hippolytus the goddess Aphrodite, chief architect of the events of the play, delivers a prologue that predicts the future as well as explaining the recent past. Setting Hippolytus, produced in Athens in 428 BC, takes place in Trozen, a coastal town thirty miles south of Athens. The ske-ne- (stage building, see pages 122–3) represents the royal palace. In front of the palace are two statues, one of Aphrodite, the other of Artemis (both statues are directly addressed or referred to in the play – see 66, 98, 112 and 513). The Greek audience would immediately recognise a conflict of interests: Aphrodite stands for sexual love, Artemis for chastity. Aphrodite Aphrodite, the goddess of love, in this play is often called ‘Cypris’ (2) since she was first worshipped on the island of Cyprus, traditionally her birthplace. She represents sexual love, often denounced in Greek literature as an uncontrollable, destructive force that overrides rational, moral conduct (a view strongly expressed in Euripides’ Medea).
  • Mary Reid Kelley Reimagines Mythology from a Woman's Point Of

    Mary Reid Kelley Reimagines Mythology from a Woman's Point Of

    Mary Reid Kelley Reimagines Mythology from a Woman's Poin... http://la-confidential-magazine.com/living/articles/mary-reid-ke... PERSONALITIES | EVENTS | STYLE | FOOD & DRINK | LIVING | WATCHES | MAGAZINE | VIDEO LIVING / MARY REID KELLEY REIMAGINES MYTHOLOGY FROM A WOMAN'S POV FOLLOW US Mary Reid Kelley Reimagines Mythology from a Woman's POV ▸ Read the Digital Issue BY ALLYSON REES ▸ Get the Newsletter For her first museum show in LA, artist Mary Reid Kelley reimagines mythology from a woman’s point of view. ▸ Browse Past Issues Search people, places, events Bull’s eye! Artist Mary Reid Kelley’s video trilogy, in which she collaborated with her husband, Patrick Kelley, has been a hit with viewers and critics alike. The third installment of her ancient-meets-modern-day take on the Greek myth of the Minotaur debuts at the Hammer Museum in May. Upon first viewing Mary Reid Kelley’s video, The Thong of Dionysus, it’s hard to believe the artist was inspired by Picasso, but take a second look at the black and white sets, bug-eyed characters, and cartoonish elements, and Behind the Scenes With Christina you’ll start to detect hints of the Spanish master’s Guernica. Hendricks We go behind the scenes at 'Mad Men' star Christina “Picasso said: ‘Great artists don’t borrow, they steal,’” jokes Reid Kelly, 35. The Thong of Dionysus is the final work Hendricks' cover shoot. in a trilogy that includes her Priapus Agonistes (2013) and Swinburne’s Pasiphae (2014)—which, along with portraits of its recurring characters, will be on display at the Hammer Museum starting May 23.
  • GRADE 6: MODULE 1: UNIT 2: LESSON 12 Theseus and the Minotaur

    GRADE 6: MODULE 1: UNIT 2: LESSON 12 Theseus and the Minotaur

    GRADE 6: MODULE 1: UNIT 2: LESSON 12 Theseus and the Minotaur Prince Theseus was greatly loved by his father, King Egeus. Theseus, however, was much too brave and active a young man to spend all his time talking about the past with his father. His ambition was to perform other, more heroic deeds. One morning, Prince Theseus awoke to sobs and screams of woe—from the king’s palace, from the streets, and from the temples. He put on his clothes as quickly as he could and, hastening to the king, inquired what it all meant. “Alas!” quoth King Egeus. “This is the saddest anniversary of the year. It is the day when we draw lots to see which of the youths and maidens of Athens shall go to be devoured by the horrible Minotaur!” “The Minotaur!” exclaimed Prince Theseus; and, like a brave young prince as he was, he put his hand to the hilt of his sword. “What kind of a monster may that be? Is it not possible to slay him?” But King Egeus shook his head and explained. In the island of Crete there lived a dreadful monster, called a Minotaur, shaped partly like a man and partly like a bull. But King Minos of Crete built a habitation for the Minotaur and took care of his health and comfort. A few years before, there had been a war between the city of Athens and the island of Crete, in which the Athenians were beaten. They could only beg for peace if they agreed to seven young men and seven maidens, every year, to be devoured by the pet monster of the cruel King Minos.
  • The Piercing of Glaucus Iliad 16.508-16.547 Jason Steranko

    The Piercing of Glaucus Iliad 16.508-16.547 Jason Steranko

    the piercing of glaucus Iliad 16.508-16.547 Jason Steranko, ‘17 terrible grief seized glaucus when he heard the dying voice, his heart was struck he could not save Sarpedon. he grasped his own throbbing arm and pressed hard, his wound wearying, the wound that teucer had dealt when from the high wall he let his arrow fly, defending his comrades from the lycian attacker. glaucus prayed to far-shooting apollo: ‘hear me, lord, wherever you may be, back in rich lycia, or here at troy: you are a god who hears from all directions the cries of grieving men: grief has come to me. a grievous wound overwhelms my arm, too deep to dry. it weighs down my shoulder and deadens my hand, too weak to take up my spear, too weak to avenge Sarpedon. he, our best man, the son of zeus, lies dead on the ground, abandoned by his father. lord apollo, heal this mighty wound of mine, lull my pains and grant me might that i may fight and marshal the scattered lycians and that i may guard whatoncewas Sarpedon.’ he spoke his prayer and apollo listened. he soothed the throbbing arm and dried black the dark and deep wound with his gleaming hand. the aching heart of glaucus surged with strength. the mortal knew it was the touch of the god, the quick touch of apollo, who heard his prayer. glaucus arose and inspired the leaders of lycia, gathered from across the battlefield, to surround their prostrate king, fallen Sarpedon. with purpose he marched to the trojan troop, to polydamas, son of panthous, and shining agenor.
  • Greek Mythology: Heroes

    Greek Mythology: Heroes

    Greek Mythology: Heroes Baldwin’s Mythology Heroes ● Odysseus ● Heracles (Hercules) ● Jason ● Theseus ● Achilles ● Perseus Odysseus ● Legendary Hero in Greek Mythology ● King of the island of Ithaca and the protagonist in Homer’s epic The Odyssey ● It all started over a woman... Odysseus (continued) ● Odysseus was one of the suitors that wanted to marry Helen, step-daughter of king Tyndareus of Sparta. However, there suitors, so they drew straws. As a result, Menelaus drew the lucky straw, while Odysseus married Penelope. ● Helen was abducted by Prince Paris of Troy, so all suitors were summoned to help Menelaus in his quest to bring her back. ● After the Greeks reached Troy and the war started, Odysseus played a particularly influential role as an advisor. He maintained the morale of the Greeks in a high level and managed to keep everyone sane. Odysseus (continued) ● Odysseus was most famous in the war for his contribution to create the Trojan Horse, a huge wooden horse that was supposed to be a gift to the Trojans by the retreating Greeks. The Trojans accepted the gift joyfully and started celebrating around it. When the night fell and everyone was drunk, the Greek warriors, who had hidden in the hollow body of the horse, revealed themselves and slew the Trojans, winning the war. Hercules ● Heracles (or Hercules) is best known as the strongest of all mortals, and even stronger than many gods. ● He was the last mortal son of Zeus, and the only man born of a mortal woman to become a god upon his death. ● Terrible things happened to him because of Hera's hatred, a hatred that he was not responsible for.
  • "A Mighty Maze! Without a Plan" Cosmological

    "A Mighty Maze! Without a Plan" Cosmological

    "A MIGHTY MAZE! BUT NOT WITHOUT A PLAN" COSMOLOGICAL INTERPRETATIONS OF THE LABYRINTH Vahtang Hark Shervashidze, Master of Arts <Hons. l, Science and Technology Studies, 1989 A.H.D.G. Expa.tia.te free o'er all this scene of Man; A mighty maze! but not without a plan; A viId, where weeds and flowers promiscuous shoot j Or garden, tempting with forbidden fruit. Alexander Pope, An Essay on Man, 1,5-8. I hereby declare that this submission is my own work and that, to the best of my know­ ledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement is made in the text. Vahtang Mark Shervashidze 1 ABSTRACT The history of the labyrinth in Western thought is intimately connected with the development of Christianity and the philosophical movements associated with it. Roughly speaking, the labyrinth has passed through three periods of development. First, there were the Minoan and Greek sources of the Theseus cycle, which are the foundation of 1abyrinth-1 ore. The Greeks also provided the analogical structure which allowed the labyrinth to expand its repertoire of metaphor beyond mythology into literature. Secondly, perhaps due to the renascence of classical literature in the eleventh and twelfth centuries, the labyrinth enjoyed some popularity in France and Italy. Here we must distinguish between purely conceptual, literary labyrinths and the artifactual examples which dot cathedral and church floors across the lie de France and Italy.
  • Forces Setup Victory

    Forces Setup Victory

    Forces SPECIAL RULES Player 1 VILLAGERS Hero: Heracles The villagers have a defence stat of 2. THE MINOTAUR’S RETURN Troops: Hoplites, Spartiates RUN FOR YOUR LIFE ! Player 2 The villagers are too stunned to defend Monster: Minotaure themselves or run. But Heracles can get them out 2 Troops: Chiens des enfers, Guerriers des enfers of their torpor, screaming at them. As a simple action, he may discard an Art of War card to move two villagers from one square away, or one villager from two squares away. Board : Ruins Setup GARD ! Heracles was watching the beast in the distance as it bellowed in front of a terrified villager. The poor man was backed against a Heracles gets the Guard skill for this scenario. wall without any way out. He knew it was hopeless and that was Place 1-3 ruined columns in each ruins area. written on his face. REINFORCEMENTS As if to confirm, the Minotaur charged, head down, and impaled When a troop is destroyed it reappears the villager on one of his horns. He then shook himself as if to get Place Heracles, the Minotaur, the Hell Hounds and the automatically its side’s coloured area without spending activation card. rid of a fly. The disarticulated body of the man fell wetly a few Hell Warriors at their starting point as indicated on the meters away. He was, mercifully, dead already. At least Heracles was hoping he was. A pack of hell hounds, drawn by the slaughter, map. fought over the corpse in a roaring concert, pulling it in all directions until a wet crunch gave way.