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While in the park with her dog Merlin, 16-year-old Sarah recites from a book titled The Labyrinth, but is unable to remember the last line. Realizing that she is late to babysit her infant half-brother Toby, she rushes home and is confronted by her stepmother who leaves for dinner with Sarah's father. Frustrated that Toby was given her treasured teddy bear, Lancelot, and by his constant crying, Sarah rashly wishes that Toby be taken away by the goblins from her book. Toby disappears and the Goblin King Jareth appears, offering Sarah her dreams in exchange for the baby. She refuses, instantly regretting her wish. Jareth reluctantly gives Sarah 13 hours to solve his labyrinth and find Toby before he is turned into a goblin forever. Sarah meets a dwarf named Hoggle who aids her to enter the labyrinth. She has trouble finding her way at first and meets a talking worm who inadvertently sends her in the wrong direction.

Sarah ends up in an oubliette where she reunites with Hoggle. The two are confronted by Jareth, escape one of his traps, and encounter a large beast named Ludo. Hoggle flees in a cowardly fashion, while Sarah befriends Ludo after freeing him from a trap but loses him in a forest. Hoggle encounters Jareth, who instructs him to give an enchanted peach to Sarah, calling his loyalty into question, as he was supposed to take her back to the beginning of the labyrinth. Sarah is harassed by a group of creatures called The Fire Gang, but Hoggle comes to her aid. She kisses him, and they fall through a trapdoor that sends them to a flatulent swamp called the "Bog of Eternal Stench" where they reunite with Ludo. The trio meet the guard of the swamp, the anthropomorphic fox terrier Sir Didymus and his bearded collie "steed" Ambrosius. Ludo summons a trail of rocks to save Sarah from falling into the bog, and Didymus joins the group. The group gets hungry, so Hoggle gives Sarah the peach and runs away as she falls into a trance and forgets her quest. She dreams that Jareth comes to her at a masquerade ball, proclaiming his love for her, but she rebuffs him and escapes, falling into a junkyard outside the Goblin City near Jareth's castle. An old Junk Lady fails to brainwash her and she is rescued by Ludo and Sir Didymus. They are confronted by the humongous robotic gate guard, but Hoggle comes to their rescue. Despite his feeling unworthy of forgiveness for his betrayal, Sarah and the others welcome him back, and they enter the city together.

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Realizing how important Toby is to her, Sarah gives him Lancelot and returns to her room as her father and stepmother return home. She sees her friends in the mirror and admits that, even though she has grown up, she still needs them in her life, whereupon the labyrinth characters appear in her room for a raucous reunion party, hugging each other in joy. The movie ends with Jareth in his barn owl form watching their celebration from outside and then flies off into the moonlight.

Several critics noted the film's subtext and found it successful to varying degrees. Saw Tek Meng of the New Straits Times acknowledged that "Sarah's experiences in the labyrinth are symbolic of her transition from child to woman" but ultimately found the film "too linear" for its latent themes to come through.[81] The New York Times' Nina Darnton compared the film's tone to the writings of E. T. A. Hoffmann, stating that Hoffman's The Nutcracker "is also about the voyage to womanhood, including the hint of sexual awakening, which Sarah experiences too in the presence of a goblin king". Darton enjoyed the film and considered it more successful than Henson's previous collaboration with Brian Froud, The Dark Crystal.[10]

Between 2018 and 2019, Archaia published Labyrinth: Coronation, a 12-issue comic series written by Simon Spurrier and illustrated by Daniel Bayliss. The series is a prequel about how Jareth became the Goblin King. It began with officials of the 1790s Venice. The story revolves around an infant Jareth who has been stolen by the previous ruler of the labyrinth the Owl King and follows the quest of Jareth's mother Maria to rescue her son.[141][142] In 2020, Archaia published Labyrinth: Masquerade, a one-shot story set during the film's masquerade dream sequence, written by Lara Elena Donnelly with art by Pius Bak, Samantha Dodge, and French Carlomango.[143]

Ancient Greek legends tell of King Minos of Crete, who had the inventor Daedalus create a labyrinth beneath his palace in which was housed the Minotaur, a fearsome monster with the head of a bull and body of a man. The Minotaur was said to have been slain by the Greek hero Theseus, who then managed to find his way out of the labyrinth with the aid of a ball of thread that had been given to him by Ariadne, the daughter of Minos.

In English, the term labyrinth is generally synonymous with maze. As a result of the long history of unicursal representation of the mythological Labyrinth, however, many contemporary scholars and enthusiasts observe a distinction between the two. In this specialized usage maze refers to a complex branching multicursal puzzle with choices of path and direction, while a unicursal labyrinth has only a single path to the center. A labyrinth in this sense has an unambiguous route to the center and back and presents no navigational challenge.[6][7][8][9]

Unicursal labyrinths appeared as designs on pottery or basketry, as body art, and in etchings on walls of caves or churches. The Romans created many primarily decorative unicursal designs on walls and floors in tile or mosaic. Many labyrinths set in floors or on the ground are large enough that the path can be walked. Unicursal patterns have been used historically both in group ritual and for private meditation, and are increasingly found for therapeutic use in hospitals and hospices.[10]

Labyrinth is a word of pre-Greek origin whose derivation and meaning are uncertain. Maximillian Mayer suggested as early as 1892[11] that labyrinthos might derive from labrys, a Lydian word for "double-bladed axe".[12] Arthur Evans, who excavated the Minoan palace of Knossos in Crete early in the 20th century, suggested that ruins inspired the story of the labyrinth, and since the double axe motif appears in the palace ruins, he asserted that labyrinth could be understood to mean "the house of the double axe".[13] The same symbol, however, was discovered in other palaces in Crete.[14] Nilsson observed that in Crete the double axe is not a weapon and always accompanies goddesses or women and not a male god.[15]

Pliny's Natural History gives four examples of ancient labyrinths: the Cretan labyrinth, an Egyptian labyrinth, a Lemnian labyrinth, and an Italian labyrinth. These are all complex underground structures,[21] and this appears to have been the standard Classical understanding of the word.

In the 2000s, archaeologists explored other potential sites of the labyrinth.[26] Oxford University geographer Nicholas Howarth believes that "Evans's hypothesis that the palace of Knossos is also the Labyrinth must be treated sceptically."[26] Howarth and his team conducted a search of an underground complex known as the Skotino cave but concluded that it was formed naturally. Another contender is a series of tunnels at Gortyn, accessed by a narrow crack but expanding into interlinking caverns. Unlike the Skotino cave, these caverns have smooth walls and columns, and appear to have been at least partially man-made. This site corresponds to a labyrinth symbol on a 16th-century map of Crete in a book of maps in the library of Christ Church, Oxford. A map of the caves themselves was produced by the French in 1821. The site was also used by German soldiers to store ammunition during the Second World War. Howarth's investigation was shown on a documentary[27] produced for the National Geographic Channel.

In Book II of his Histories, Herodotus applies the term "labyrinth" to a building complex in Egypt "near the place called the City of Crocodiles", that he considered to surpass the pyramids.[28] The structure, which may have been a collection of funerary temples such as are commonly found near Egyptian pyramids,[29] was destroyed in antiquity and can only be partially reconstructed.[30][31] During the nineteenth century, the remains of this ancient Egyptian structure were discovered at Hawara in the Faiyum Oasis by Flinders Petrie at the foot of the pyramid of the twelfth-dynasty pharaoh Amenemhat III (reigned c. 1860 BC to c. 1814 BC).[32]

Pliny the Elder's Natural History (36.90) lists the legendary Smilis, reputed to be a contemporary of Daedalus, together with the historical mid-sixth-century BC architects and sculptors Rhoikos and Theodoros as two of the makers of the Lemnian labyrinth, which Andrew Stewart[33] regards as "evidently a misunderstanding of the Samian temple's location en limnais ['in the marsh']."

A design essentially identical to the 7-course "classical" pattern appeared in Native American culture, the Tohono O'odham people labyrinth which features I'itoi, the "Man in the Maze." The Tonoho O'odham pattern has two distinct differences from the classical: it is radial in design, and the entrance is at the top, where traditional labyrinths have the entrance at the bottom (see below). The earliest appearances cannot be dated securely; the oldest is commonly dated to the 17th century.[35]

Unsubstantiated claims have been made for the early appearance of labyrinth figures in India,[36] such as a prehistoric petroglyph on a riverbank in Goa purportedly dating to circa 2500 BC.[37][better source needed] 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. Securely datable examples begin to appear only around 250 BC.[36] Early labyrinths in India typically follow the Classical pattern or a local variant of it; some have been described as plans of forts or cities.[38] 2351a5e196