The Minotaur (opera) of the labyrinth should he survive his encounter with the Minotaur. She believes she can persuade Theseus to take her back with him to Athens. Both see the Minotaur as scapegoat and deliverance. The last scene of "The Minotaur" echoes the death scene of Mussorgsky's "Boris Godunov". "Scene 1: Arrival" Ariadne watches as a Greek ship arrives on the island of Crete, carrying the Innocents who will be sacrificed to the Minotaur: a monstrous creature, half-man, half-bull. Ariadne greets the Innocents and notices Theseus in the crowd. He has come to Crete to defeat the Minotaur. "Scene 2: The Choice"
Minotaur through the Renaissance, the Minotaur appears at the center of many depictions of the Labyrinth. Ovid's Latin account of the Minotaur, which did not elaborate on which half was bull and which half man, was the most widely available during the Middle Ages, and several later versions show the reverse of the Classical configuration, a man's head and torso on a bull's body, reminiscent of a centaur. This alternative tradition survived into the Renaissance, and still figures in some modern depictions, such as Steele Savage's illustrations for Edith Hamilton's "Mythology" (1942). Androgeus, son of Minos, had been killed by the