
[Middle English mase, confusion, maze, from masen, to confuse, daze, from Old English āmasian, to confound. See amaze.]
noun
verb
The mazes of folk tradition are not intended as puzzles; they are single-track coiling patterns cut in turf and used for communal sport, the point being to run round them without stumbling or touching the banks even at the sharp bends. Having reached the centre, the runner retraces his steps along the same path to emerge. Aubrey noted that one in Dorset had been ‘much used by the young people on Holydaies and by ye School-boies’, and that ‘There is a Maze at this day in Tuthill fields, Westminster, & much frequented in summer-time on fair afternoons’ (Aubrey, 1686/1880: 71).
Eight such labyrinths survive, including those at Alkborough (Humberside), Saffron Walden (Essex), and Winchester (Hampshire). At least a hundred more have disappeared for lack of maintenance. On the island of St Agnes in the Scillies there is one marked out with small boulders; it was clumsily ‘restored’ in 1989, so now neither the site nor the design is accurate.
Several English mazes are named ‘Troy Town’ or ‘Walls of Troy’, terms probably derived from a passage in Virgil (Aeneid, v. 545-603) describing the ‘Troy Game’, a test of skill in which young riders manœuvered along a mazy track. Since medieval and Elizabethan English believed themselves to be descended from the Trojans, the appeal is obvious.
There is no way of dating these mazes, nor are they likely to be all equally old; a range of dates from the late Middle Ages to the 18th century is plausible. On the Continent, mazes can symbolize penance or pilgrimage, and some scholars have proposed this interpretation for English ones too. However, surviving English traditions are non-religious: the Winchester maze is said to have been cut by a schoolboy, that on the Scillies by a lighthouse keeper, a lost one at Shrewsbury was called ‘The Shoemaker's Race' and was maintained throughout the 17th century by the city's shoemakers’ guild for their annual Whitsun feast.
Bibliography
The full bibliography list is available here.
Fret, Greek key, labyrinth, meander, but especially labyrinthine figures in churches and gardens.
| Mayogall, Mayobridge, Mayo | |
| Mealaghans, Meall Dearg, Meall Dubh |
A large department store can sometimes feel like a maze made up of walls of things to buy.
Tutor's tip: The rat reached the "maize" (tall annual cereal grass) at the end of the "maze "(a labyrinth) in under thirty seconds.
LearnThatWord.com is a free vocabulary and spelling program where you only pay for results!
Mazes can represent the almost endless task of hide-and-seek with issues that need to be made simpler and faced more directly. They can also signify feeling like a "rat in a maze."
A complicated system of intersecting paths used in intelligence tests and in demonstrating learning in experimental animals.

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A maze is a tour puzzle in the form of a complex branching passage through which the solver must find a route. In everyday speech, both maze and labyrinth denote a complex and confusing series of pathways, but technically the maze is distinguished from the labyrinth, as the labyrinth has a single through-route with twists and turns but without branches, and is not designed to be as difficult to navigate.[1] The pathways and walls in a maze or labyrinth are fixed (pre-determined) – puzzles where the walls and paths can change during the game are categorised as tour puzzles. The Cretan labyrinth is the oldest known maze.[2]
Mazes have been built with walls and rooms, with hedges, turf, corn stalks, hay bales, books, paving stones of contrasting colors or designs, bricks and turf,[3] or in fields of crops such as corn or, indeed, maize. Maize mazes can be very large; they are usually only kept for one growing season, so they can be different every year, and are promoted as seasonal tourist attractions. Indoors, Mirror Mazes are another form of maze, where many of the apparent pathways are imaginary routes seen through multiple reflections in mirrors. Another type of maze consists of a set of rooms linked by doors (so a passageway is just another room in this definition). Players enter at one spot, and exit at another, or the idea may be to reach a certain spot in the maze. Mazes can also be printed or drawn on paper to be followed by a pencil or fingertip.
Classical labyrinth
Maze generation is the act of designing the layout of passages and walls within a maze. There are many different approaches to generating mazes, where various maze generation algorithms exist for building them, either by hand or automatically by computer.
There are two main mechanisms used to generate mazes. "Carving passages" is where one marks out the network of available routes. "Adding walls" is where one lays out a set of obstructions within an open area. Most mazes drawn on paper are where one draws the walls, where the spaces in between the markings compose the passages.
Maze solving is the act of finding a route through the maze from the start to finish. Some maze solving methods are designed to be used inside the maze by a traveler with no prior knowledge of the maze, whereas others are designed to be used by a person or computer program that can see the whole maze at once.
The mathematician Leonhard Euler was one of the first to analyze plane mazes mathematically, and in doing so made the first significant contributions to the branch of mathematics known as topology.
Mazes containing no loops are known as "standard", or "perfect" mazes, and are equivalent to a tree in graph theory. Thus many maze solving algorithms are closely related to graph theory. Intuitively, if one pulled and stretched out the paths in the maze in the proper way, the result could be made to resemble a tree.[4]
Mazes are often used in psychology experiments to study spatial navigation and learning. Such experiments typically use rats or mice. Examples are:
Numerous mazes of different kinds have been drawn, painted, published in books and periodicals, used in advertising, in software, and sold as art. In the 1970s there occurred a publishing "maze craze" in which numerous books, and some magazines, were commercially available in nationwide outlets and devoted exclusively to mazes of a complexity that was able to challenge adults as well as children (for whom simple maze puzzles have long been provided both before, during, and since the 1970s "craze").
Some of the best-selling books in the 1970s and early 1980s included those produced by Vladimir Koziakin,[5] Rick and Glory Brightfield, Dave Phillips, Larry Evans, and Greg Bright. Koziakin's works were predominantly of the standard two-dimensional "trace a line between the walls" variety. The works of the Brightfields had a similar two-dimensional form but used a variety of graphics-oriented "path obscuring" techniques – although the routing was comparable to or simpler than Koziakin's mazes, the Brightfield's mazes did not allow the various pathway options to be discerned so easily by the roving eye as it glanced about.
Greg Bright's works went beyond the standard published forms of the time by including "weave" mazes in which illustrated pathways can cross over and under each other. Bright's works also offered examples of extremely complex patterns of routing and optical illusions for the solver to work through. What Bright termed "mutually accessible centers" (The Great Maze Book, 1973) also called "braid" mazes, allowed a proliferation of paths flowing in spiral patterns from a central nexus and, rather than relying on "dead ends" to hinder progress, instead relied on an overabundance of pathway choices. Rather than have a single solution to the maze, Bright's routing often offered multiple equally valid routes from start to finish, with no loss of complexity or diminishment of solver difficulties because the result was that it became difficult for a solver to definitively "rule out" a particular pathway as unproductive. Some of Bright's innovative mazes had no "dead ends" – although some clearly had looping sections (or "islands") that would cause careless explorers to keep looping back again and again to pathways they had already travelled.
The books of Larry Evans focused on 3-D structures, often with realistic perspective and architectural themes, and Bernard Meyers (Supermazes No. 1) produced similar illustrations. Both Greg Bright (The Hole Maze Book) and Dave Phillips (The World's Most Difficult Maze) published maze books in which the sides of pages could be crossed over and in which holes could allow the pathways to cross from one page to another, and one side of a page to the other, thus enhancing the 3-D routing capacity of 2-D printed illustrations.
Adrian Fisher is both the most prolific contemporary author on mazes, and also one of the leading maze designers[citation needed]. His book The Amazing Book of Mazes (2006) contains examples and photographs of numerous methods of maze construction, several of which have been pioneered by Fisher; The Art of the Maze (Weidenfeld and Nicholson, 1990) contains a substantial history of the subject, whilst Mazes and Labyrinths (Shire Publications, 2004) is a useful introduction to the subject.
A recent book by Galen Wadzinski (The Ultimate Maze Book) offers formalized rules for more recent innovations that involve single-directional pathways, 3-D simulating illustrations, "key" and "ordered stop" mazes in which items must be collected or visited in particular orders to add to the difficulties of routing (such restrictions on pathway traveling and re-use are important in a printed book in which the limited amount of space on a printed page would otherwise place clear limits on the amount of choices and pathways that can be contained within a single maze). Although these innovations are not all entirely new with Wadzinski, the book marks a significant advancement in published maze puzzles, offering expansions on the traditional puzzles that seem to have been fully informed by various video game innovations and designs, and adds new levels of challenge and complexity in both the design and the goals offered to the puzzle-solver in a printed format.
(construction was planned but the maze does not seem to exist)
| Wikimedia Commons has media related to: Labyrinths |
| Look up maze in Wiktionary, the free dictionary. |
| Wikisource has the text of the 1911 Encyclopædia Britannica article maze. |
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Dansk (Danish)
n. - labyrint, virvar
v. tr. - forvirre, gøre konfus
Nederlands (Dutch)
doolhof, warboel, verbijstering, verbijsteren
Français (French)
n. - (lit, fig) labyrinthe, dédale, enchevêtrement
v. tr. - déconcerter, troubler
Deutsch (German)
n. - Labyrinth
v. - verwirren
Ελληνική (Greek)
n. - δαίδαλος, λαβύρινθος, κυκεώνας, ανακάτεμα
v. - μπερδεύω, προκαλώ σύγχυση
Português (Portuguese)
n. - confusão (f), labirinto (m)
v. - assombrar
Русский (Russian)
лабиринт, путаница, ставить в тупик, бродить по лабиринту
Español (Spanish)
n. - laberinto
v. tr. - enredar, intrincar, confundir
Svenska (Swedish)
n. - labyrint, förvirring
v. - förvirra
中文(简体)(Chinese (Simplified))
迷宫, 迷惘, 使迷惘, 迷失, 使混乱
中文(繁體)(Chinese (Traditional))
n. - 迷宮, 迷惘
v. tr. - 使迷惘, 迷失, 使混亂
한국어 (Korean)
n. - 미궁, 곤란
v. tr. - 곤란하게 하다
日本語 (Japanese)
n. - 迷路, 迷宮, 紛糾, 混乱, 当惑
v. - まごつかす
العربيه (Arabic)
(الاسم) المتاهه (فعل) يحير, يربك
עברית (Hebrew)
n. - מבוך, מבוכה
v. tr. - הביך, בלבל
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