The Minotaur occupies a charged and polyvalent position within the depth-psychology corpus, functioning simultaneously as mythological datum, psychological symbol, and cultural diagnostic. Campbell reads the creature as the monstrous consequence of royal hubris—the inevitable product when Minos refuses the sacrificial covenant with Poseidon, substituting tribute for genuine self-offering and thereby corrupting the sacred order into tyranny. For Campbell, the Minotaur literalizes what happens when the king withholds himself from the divine cycle: the sacred bull-nature, unintegrated, becomes the devouring monster hidden at the center of the labyrinth. Jung and his school extend this toward the psychology of heroic individuation: Theseus’s penetration of the labyrinth represents the ego’s necessary confrontation with the archaic, matriarchal unconscious, the Minotaur symbolizing the unhealthy decadence of a pre-patriarchal psychic order that must be overcome before the anima can be liberated. Hillman complicates this triumphalist reading, finding in the Minotaur’s hybrid form—human body, bull’s head—a pathos of imprisonment: consciousness trapped inside animal instinct, unable to exit itself. Stein extends the figure into art-psychology through Picasso, for whom the Minotaur functions as an adult imago connecting to the archetypal unconscious rather than as a monster to be slain. Kerényi contributes the overlooked stellar dimension, noting that the Minotaur’s true Knossian name, Asterios, encodes a luminous, cosmic register suppressed by the Greek heroic tradition. Rank situates the Cretan labyrinth and its inhabitant within a broader Hellenization of Egyptian animal-cult motifs. The major tension across the corpus is whether the Minotaur represents something to be overcome (Campbell, Jung) or something to be inhabited and understood (Hillman, Stein, Kerényi).