As I reread the Green Goose, I notice there are many literary references that seem unclear for someone like me who seems to have been short changed in education on the classics. For any other cast members who may be as clueless as me, I offer this first cut of material from Wikipedia.
The account of the beheading of Holofernes by Judith is given in the deuterocanonical book of Judith, and is the subject of more than 114 paintings and sculptures. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her. Holofernes was an Assyrian general who was about to destroy Judith’s home, the city of Bethulia, though the story is emphatic that no “defilement” takes place. Overcome with drink, he passes out and is decapitated by Judith; his head is taken away in a basket (often depicted as carried by an elderly female servant).
Orpheus (pron.: /ˈɔrfiːəs/ or
Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus (AKA Jove) seduced, or raped, Leda in the form of a swan. According to later Greek mythology, Leda bore Helen and Polydeuces, children of Zeus, while at the same time bearing Castor and Clytemnestra, children of her husband Tyndareus, the King of Sparta. In the W.B. Yeats version, it is subtly suggested that Clytemnestra, although being the daughter of Tyndareus, has somehow been traumatised by what the swan has done to her mother (see below). According to many versions of the story, Zeus took the form of a swan and raped or seduced Leda on the same night she slept with her husband King Tyndareus. In some versions, she laid two eggs from which the children hatched. In other versions, Helen is a daughter of Nemesis, the goddess who personified the disaster that awaited those suffering from the pride of Hubris.
The subject was rarely seen in the large-scale sculpture of antiquity, although a representation of Leda in sculpture has been attributed in modern times to Timotheos; small-scale sculptures survive showing both reclining and standing poses, in cameos and engraved gems, rings, and terracotta oil lamps. Thanks to the literary renditions of Ovid and Fulgentius it was a well-known myth through the Middle Ages, but emerged more prominently as a classicizing theme, with erotic overtones, in the Italian Renaissance.