In Greek mythology, Daedalus (Latin, also Hellenized Latin Daedalos, Greek Daidalos (Δαίδαλος) meaning "cunning worker", and Etruscan Taitle) was a most skillful artificer, or craftsman, so skillful that he was said to have invented images that seemed to move about. Daedalus had two sons: Icarus and Iapyx, along with a nephew, whose name varies. He is first mentioned by Homer as the creator of a wide dancing-ground for Ariadne . Homer refers to Ariadne by her Cretan title, the "Lady of the Labyrinth" . The Labyrinth on Crete in which the Minotaur (part man, part bull) was kept, was also created by the artificer Daedalus. The story of the labyrinth is told where Theseus is challenged to kill the Minotaur, finding his way with the help of Ariadne's thread.
Ignoring Homer, later writers envisaged the labyrinth as an edifice rather than a single path to the center and out again, and gave it numberless winding passages and turns that opened into one another, seeming to have neither beginning nor end (see labyrinth as opposed to maze). Ovid, in his Metamorphoses, suggests that Daedalus constructed the Labyrinth so cunningly that he himself could barely escape it after he built it. Daedalus built the labyrinth for King Minos, who needed it to imprison his wife's son the Minotaur. The story is told that Poseidon had given a white bull to Minos so that he might use it as a sacrifice. Instead, Minos kept it for himself; and in revenge, Poseidon made his wife lust for the bull. For Minos' wife, Pasiphaë, Daedalus also built the wooden cow so she could mate with the bull, for the Greeks imagined the Minoan bull of the sun to be an actual, earthly bull.
Athenians transferred Cretan Daedalus to make him Athenian-born, the grandson of the ancient king Erechtheus, who fled to Crete, having killed his nephew. Over time, other stories were told of Daedalus. In the nineteenth century, Thomas Bulfinch combined these into a single synoptic view of material which Andrew Stewart calls a "historically-intractable farrago of 'evidence', heavily tinged with Athenian cultural chauvinism" (Stewart).
They had passed Samos, Delos and Lebynthos when the boy began to soar upward as if to reach heaven. The blazing sun softened the wax which held the feathers together and they came off. Icarus fell into the sea. His father cried, bitterly lamenting his own arts, and called the land near the place where Icarus fell into the ocean Icaria in memory of his child.
Eventually Daedalus arrived safely in Sicily, in the care of King Cocalus, where he built a temple to Apollo, and hung up his wings, an offering to the god. In an alternative version given by Virgil in Book 10 of the Aeneid, Daedalus flies to Cumae, and founds his temple there, rather than in Sicily.
Minos, meanwhile, searched for Daedalus by travelling from city to city asking a riddle. He presented a spiral seashell and asked for a string to be run through it. When he reached Camicus, King Cocalus, knowing Daedalus would be able to solve the riddle, privately fetched the old man to him. He tied the string to an ant which, lured by a drop of honey at one end, walked through the seashell stringing it all the way through. Minos then knew Daedalus was in the court of King Cocalus and demanded he be handed over. Cocalus managed to convince Minos to take a bath first, where Cocalus' daughters killed Minos.
Daedalus gave his name, eponymously, to any Greek artificer and to many Greek contraptions that represented dextrous skill. At Plataea there was a festival, the Daedala, in which a temporary wooden altar was fashioned, an effigy was made from an oak-tree and dressed in bridal attire. It was carried in a cart with a woman who acted as bridesmaid. The image was called Daedale and the archaic ritual given an explanation through a myth to the purpose.
In the period of Romanticism, Daedalus came to denote the classic artist, a skilled mature craftsman, while Icarus symbolized the romantic artist, an undisputed prototype of the classic artist, whose impetuous, passionate and rebellious nature, as well as his defiance of formal aesthetic and social conventions, may ultimately prove to be self-destructive. Stephen Dedalus, in Joyce's Portrait of the Artist as a Young Man envisages his future artist-self "a hawklike man. flying above the waves”.