в англояз. книжке Incest and the Medieval Imagination by Elizabeth Archibald (ссылка на книжку: http://www.theapricity.com/forum/showthread.php?t=14510 )
приводится рассказ об Иуде по версии из Золотой Легенды Якова Ворагинского, где Иуде приписана одновременно и судьба Эдипа (убийство отца, женитьба на матери). Возникает вопрос, может ли быть Эдип (кстати, популярный сюжет у "древне"греческих трагиков) в какой-то степени отражением Иуды (их имена также чем-то близки Эдип-Иудип)?

цитата с рассказом:
An early and influential incest narrative which appears to be derived from the Oedipus story is the legend of Judas. Versions in both Latin and the vernaculars circulated widely from the twelfth century, if not earlier; I shall be dealing mainly with Latin narratives. The best-known version of the story is found in the Legenda aurea of Jacobus de Voragine, a thirteenth-century collection of saints’ lives, as part of the story of St Matthias, who replaced Judas as an apostle.7
Jacobus begins and ends it with narratorial caveats as to its apocryphal and implausible nature, but he did decide to include it in his collection, and in fact it already had a considerable pedigree.
Ruben and his wife Ciborea live in Jerusalem. She is woken one night by a terrifying dream in which she bears a child so evil that he will be the downfall of his race. Nine months later Judas is born. Their horror of infanticide is outweighed by fear for their people, and they expose the baby at sea in a basket. Judas arrives at the island of Iscariot, and is found by the childless queen. She presents the boy as her own, then conceives and bears a son herself. Judas mistreats his foster-brother; eventually the truth about his origins comes out, and Judas in shame and anger kills the younger boy. He flees to Jerusalem, where he takes service with Pilate. Pilate takes a fancy to the apples in a neighbouring orchard; Judas goes to get them for him, and in a quarrel kills the owner, who is in fact his father. Pilate rewards Judas with the dead man’s land, and also his widow. The unhappy bride recounts the various disasters in her life, and Judas realizes that he has married his mother. She suggests that Judas do penance for his sins, and he goes to Jesus for help. Jesus favours him and makes him his purse-bearer. After betraying his new master, Judas commits suicide.
7 Legenda aurea, ed. Graesse, 184–6. For other texts and discussion of the development of the legend see La Leggenda, ed. d’Ancona; Constans, La Légende, 95–103; Rand, ‘Medieval Lives’; Baum, ‘Medieval Legend’; Lehmann, ‘Judas Iscariot’; Reider, ‘Medieval Oedipal Legends’; Edmunds, ‘Oedipus in the Middle Ages’, esp. 149 ff.; Axton, ‘Interpretations’; Ohly, Damned, 1–102.

есть параллели с историей Моисея (плавание в корзине) и т. п., возможно с арабским "евангелием детства"; яблоневый сад - райский сад, либо уже гефсиманский

в чем-то похожий рассказ существует об апокрифическом папе Григории (действительно ли эта история относится к какому-либо из пап? Григориев было много (в традистории), среди них даже Гильдебранд, но о них кажется ничего такого не известно):
...the very popular and influential story of the apocryphal Pope Gregory. The product of deliberate sibling incest, he is exposed at birth; when grown he marries a lady he has rescued from an unwelcome suitor, who turns out to be his own mother. He condemns himself to a harsh penance, chained to a rock in a lonely lake for seventeen years; then as a result of a vision, emissaries come from Rome to make him Pope, and he is able to absolve his mother, who becomes a nun.
http://en.wikipedia.org/wiki/Gregorius

схожая в чем-то история существует и о святом Андрее Критском:
Incest and parricide are both present, together with prophecy and a spiritually happy ending, in a narrative which is clearly a combination of the Judas and Gregorius stories, the legend of St Andreas of Crete.36
A merchant receives a prophecy that his wife will bear a son who will kill his father, marry his mother, and rape three hundred nuns. When their son is born they mutilate his body and expose him in a little boat. He is found and raised by a community of nuns; one day, in a fit of lust inspired by the devil, he rapes three hundred of them. He is driven out and arrives in the town of Crete, where he is employed as a watchman by his natural father; neither knows their true relationship. At night his father comes disguised to the vineyard as a test, and is killed by Andreas. Andreas then marries his mother, who subsequently recognizes him because of his scars. She sends Andreas to a priest, who refuses to absolve him. Andreas kills him, and then two more equally obstinate priests. The Bishop of Crete eventually absolves him, but imposes a severe penance on both mother and son. Andreas is chained at the bottom of a deep cellar; when it is filled with earth to the top, his sins will be forgiven. His mother has a padlock put through her nose; the key is thrown away, and she is ordered to wander through the world praising God until it is found again. After thirty years the key is miraculously found in a fish, and she goes into a convent. Andreas is found sitting on top of his cellar, which has filled up with earth. On the death of the Bishop of Crete Andreas succeeds him, and lives a most holy life.
Baum points out the parallels between this and the story of Judas: both children are of humble birth, both are predestined to commit parricide and incest, both commit violent crimes before fulfilling the prophecy, both discover their unwitting sins through mutual confession of mother and son, both are sent to a holy man to be pardoned.37 Other parts of the story of Andreas are much more reminiscent of the Gregorius: the use of the name of an historical ecclesiastic (there really was a Bishop Andreas of Crete in the seventh century), the penances for both mother and son, their eventual reunion and absolution, and the key miraculously found in a fish.
36This legend is preserved in a 17th-cent. folktale collection, but it derives from much earlier legends; see Rank, Incest Theme, 279 ff., and Dorn, Der Sündige Heilige, 88.

мотив инцеста звучит также в историях о короле Артуре, Карле Великом, Аполлонии Тирском (там грешит этим в начале истории царь Антиох со своей дочерью, а Аполлоний появляется со стороны (хотя разгадывает загадку как и Эдип), но, как отмечают комментаторы, the shadow of incest hangs over the story till the very end, when the hero does not act on his attraction to a young courtesan who then turns out to be his long-lost daughter), Семирамиде, Нероне, Калигуле, Периандре, Камбисе, Микерине, Алкивиаде (отражение Иуды Искариота), приписывается даже антихристу и кроме того считается даже тем самым первородным грехом, из-за которого пали первые люди и были изгнаны из рая. Мотив довольно распространенный в традистории, во всех мифологиях (Осирис, Сет, Кронос, Зевс, Афродита и т. д.), и скорей всего некоторые или многие из этих примеров могут быть дубликатами друг друга. Но являются ли многие описания инцестов, в случае дубликатов Христа, отражением всего лишь евангельской истории о связи Ирода с женой брата, а не, возможно, и каких-то других фактов, о которых евангелия могли умолчать? Действительно ли связь с женой брата такое ужасное преступление, что Иоанн Креститель так гневно ополчился против этого? Может быть, было что-то более серьезное? До этого Иродиада была жената на своем дяде, и это не считалось преступлением.

цитата из википедии:
http://ru.wikipedia.org/wiki/Инцест
В мифологии инцест стал образом жизни богов. Вся древняя мифология полна инцестуозных и промискуитетных сюжетов.
Согласно библейской мифологии, первый инцест на земле был совершён детьми перволюдей Адама и Евы. Их кровосмесительный союз был вынужденным и потому признан священным, а не преступным.
Инцест произошёл и после истребления Богом грешного города Содома. Спаслись Лот и две его дочери, которые решили, что погибли люди не только из их города, но, как и во время потопа, всё человечество. Для продолжения рода, напоив отца вином, дочери вступили с ним в кровосмесительную связь.
Английский король Генрих Тюдор развелся со своей первой женой Екатериной Арагонской на основании, что она была женой его брата Артура, а по сему — его, Генриха, близкой родственницей.
Идея неосуждаемого инцеста налицо в традиции бракосочетания фараонов и инков (практически все они женились на своих сёстрах) и царей некоторых других античных государств.
Инцестуозный проступок царя Эдипа в трагедии Софокла именуется «грехом».

таким образом, некоторые правители женились даже на сестрах, и это не осуждалось.
продолжу цитирование из книжки Archibald. Оказывается Эдип в чем-то сравнивался и с Христом:

Classical traditions about Oedipus varied considerably; not all recounted his self-blinding or removal from the throne of Thebes.27 Today we are most familiar with Sophocles’ version, but this was not known in western Europe in the Middle Ages; medieval writers were most likely to know the story from Statius’ Thebaid, from Seneca’s tragedy (but only after the twelfth century), and from references in other classical writers. Both Statius and Seneca are particularly interested in the political aspects of the story.28 For Seneca, though the incest is certainly horrifying, this is very much a story about power and kingship; the sparring between Oedipus and Creon is more marked in his play. Statius retells the story of Oedipus very briefly at the beginning of his epic Thebaid, which is mainly concerned with the story of the internecine war between Oedipus’ sons.29
...<Эдип Сенеки> appeals to Jupiter as a fellow-father, conveniently disregarding the fact that the king of Olympus too produced children from an incestuous marriage...
The story of Oedipus attracted surprisingly little attention in medieval literature.30 It is mentioned in many chronicles, but as in most other medieval accounts it is merely the curtain-raiser to a fuller account of the civil war between Polynices and Eteocles.
27See Constans, La Légende; Cingano, ‘Death of Oedipus’.
28Neither Statius nor Seneca continues the story, as Sophocles does, to show the exiled Oedipus dying as a sort of saint on Athenian territory, where his bones will bring good fortune to those who have taken pity on him.
29It may well be that this is the oldest part of the story, and that both Laius’ rape of Chrysippus and Oedipus’ disastrous parricide and incest were invented later to explain the background of the civil war between Polynices and Eteocles; see Constans, La Légende, 11.
30See Constans, La Légende; Edmunds, ‘Oedipus in the Middle Ages’; and Archibald, ‘Sex and Power’.

оказывается, отец Эдипа Лай сначала подверг насилию некоего Хрисиппа ("золото-конь"?)

In one of the earliest vernacular medieval texts regarded by modern critics as a romance, the Roman de Thèbes, the focus is on the civil war between the sons of Eteocles and Polynices, and Oedipus makes only a brief appearance in the introductory section, as in Statius’ Thebaid.32 But whereas Statius has Oedipus himself recount his tragic story in the course of cursing his two over-ambitious sons, the author of the Thèbes presents this material as narrative, and fills it out in ways typical of the new genre of romance, with its interest in the expression of extreme emotion and in anachronistic details about daily life and contemporary concerns. There are some striking departures from the classical version. For instance, when Laius orders Oedipus to be exposed in order to avoid the dreadful fate revealed by the oracle, Jocasta is given a long speech in which she expresses her pain and guilt at having to kill her child (53–78); and the baby is left hanging in an oak tree, a form of exposure quite common in the in the Middle Ages.33
32Roman de Thèbes, 33–568, ed. Raynaud de Lage; see also Poirion, ‘Edyppus’.
33See Boswell, Kindness of Strangers, 365. When the 12th-cent. Jocasta comments that the innocent child is not, after all, the offspring of a prostitute, a monk, or a nun, it is clear that children in these categories were in fact often exposed.

средневековые версии истории Эдипа, как пишут, отталкивались не от классических греческих трагиков (которые возможно появились позже), а от латинских версий Стация и Сенеки. В "Романе о Фивах" оказывается, младенец был повешен умирать на дереве дубе.

цитата из википедии:
http://ru.wikipedia.org/wiki/Роман_о_Фивах — анонимный рыцарский роман середины XII века, восходящий к хорошо известной в Средние века латинской поэме Стация «Фиваида».
В структуре и замысле книги слышны отзвуки крестового похода, который у всех еще был в памяти. Поэтому поход «семерых» против Фив в известной мере воспринимается (и изображается в романе) как экспедиция крестоносных отрядов. Фивы оказываются каким-то инфернальным городом, а его обитатели — завзятыми язычниками. Впрочем, это не делает из жителей Аргоса последовательных христиан.
Однако опыт «Романа об Александре» и «Романа о Бруте» не прошел для создателя книги даром. В романе большое место занимают описания празднеств и турниров, а также любовных взаимоотношений героев, особенно двух пар — Партенопея и Антигоны, Атиса и Исмены. Но любовная интрига не является в романе двигателем сюжета. Кроме того, любовь изображается здесь как внезапно нахлынувшее чувство, оно не знает сомнений и колебаний, оно всегда взаимно и поражает обоих влюбленных сразу. Их диалоги лишены динамизма и скорее напоминают монологи, никак не продвигающие действие вперед. Мотив совершения подвига во имя дамы здесь еще недостаточно выявлен.
Как и другие романы 50-х годов, «Роман о Фивах» — произведение переходное, вернее, подготавливающее следующий этап развития романа. Оно очень типично как попытка приспособить античный сюжет для нужд своего времени, перелицевать его в духе идеологических представлений эпохи. Феодальная терминология встречается в «Романе о Фивах» на каждом шагу. Она проявляется не только в описании осад и поединков, особенностей замкового быта или деталей вооружения. Сознание героев — это сознание феодальное. Оно пронизано представлениями о вассальном долге, правах сюзерена и т. д.
http://www.russianplanet.ru/filolog/kurtuaz/france/roman/thebes.htm ФРАНЦУЗСКИЙ "РОМАН О ФИВАХ" (XII век)
Созданный около 1150 года, "Роман о Фивах", свободное переложение "Фиваиды" Стация, является первым романом на французском языке. Он дошел до нас, благодаря пяти манускриптам, которые представляют собой две разные версии: одна - короткая (10 562 строки), другая - длинная (14 626 строк). Автор начинает рассказом об Эдипе для того, чтобы объяснить, что вражда, воодушевляющая двух братьев, Этеокла и Полиника, и развязавшая войну между аргивянами (т.е. греками) и фиванцами, является результатом двойного греха их отца: отцеубийства и инцеста. Двое братьев договариваются править по очереди.
В конце первого года Этеокл отказывается уступить трон Полинику, который за это время успел жениться на дочери аргивского короля, Адраста. Поэтому Полиник и его аргивские союзники начинают осаду Фив. После жестоких битв, в которых гибнут оба брата, все греки истреблены, но и Фивы разрушены.
Автор вырезает или сокращает многочисленные мифологические сцены, но он добавляет и целые эпизоды, как, например, взятие замка Монфлор, выборы архиепископа, предательство и феодальный суд над Дэром Рыжим (Daire le Roux).

The incest connection is used more explicitly in relation to Oedipus in the Ovide Moralisé. Ovid only referred very briefly to Oedipus in the Metamorphoses without any mention of incest (in the story of Cephalus and Procris, Met. 7. 754–61); but the author of the Ovide Moralisé gave the story more space, and also a very surprising moralization (OM 9. 1437–1996). Immediately before the story of Byblis, who vainly pursued her own brother, he interpolated an account of the story of Thebes based on Statius. In the allegorization Oedipus becomes a martyr, and his blinding a form of penitence. This is startling enough, but in an even more unexpected twist his ambitious and quarrelsome sons are types of the Jews, and Oedipus is represented as a type of Christ, since he was hung up with his feet pierced when he was exposed as an infant, like Christ on the cross, and because his mother also became his spouse, as Mary became Christ’s bride.38 Here Oedipus’ fatal incest is turned into something positive, and his story is no longer a cautionary tale of a downward spiral to disaster in a doomed family, but rather a reminder of the central events in Christian history: the Incarnation and the Resurrection. This is a splendid example of the principle dear to medieval Christian writers that ‘al that is writen is writen for our doctryne’: any text can be interpreted in a way that is useful for didactic purposes.
The moral offered in the Ovide Moralisé is, however, a very unusual reading. As we shall see, incest was sometimes interpreted by medieval writers as original sin; it would have been easy to read the Theban story as another case of original sin followed inevitably by fraternal slaughter, but even this seems to have been rare.39 The most fascinating aspect of the Oedipus story for medieval readers was the struggle of the rival brothers, rather than the vicissitudes of the father who begot them incestuously.
38There was a long tradition throughout the Middle Ages of describing Mary as the daughter and bride of her own son (for further discussion see the final chapter). On Oedipus as Christ see Visser-Van Terwisga, ‘Oedipe’.
39Poirion notes that the poet’s sympathy for the younger son, Polynices, suggests an echo of the Cain and Abel story (‘Edyppus’, 291). The author of On the Thebaid, an allegorical text long attributed to Fulgentius but probably written in the later Middle Ages, interprets Oedipus as lust and his sons as greed; but the main focus in this text is on Theseus, who represents God when he conquers Creon (pride), and liberates Thebes (the soul). See Fulgentius, trans. Whitbread, 235–44.

нужное подчеркнул. Таким образом, история Эдипа начинается с события, напоминающего распятие Христа, младенца относят на гору, прокалывают ноги и подвешивают на дереве, оставляя умирать. Но его спасает пастух. http://ru.wikipedia.org/wiki/Эдип
кстати имя Эдип означает якобы «имеющий вспухшие ноги». Но есть и другая версия:
http://en.wikipedia.org/wiki/Oedipus
Oedipus or Oedipais?
It has been suggested by some that in the earliest Ur-myth of the hero, he was called Oedipais: "child of the swollen sea."<15> He was so named because of the method by which his birth parents tried to abandon him—by placing him in a chest and tossing it into the ocean. The mythic topos of forsaking a child to the sea or a river is well attested, found (e.g.) in the myths of Perseus, Telephus, Dionysus, Romulus and Remus and Moses.<16> Over the centuries, however, Oedipais seems to have been corrupted into the familiar Oedipus: "swollen foot."
15.^ See (e.g.) Lowry 1995, 879; Carloni/Nobili 2004, 147 n.1.
16.^ This version of the Oedipus myth is in fact attested in some scholia (at lines 13 and 26) to Euripides' Phoenician Women.

т. е. "ребенок вспухшего, разбушевавшегося моря", а не ног. Это ближе к истории о плавании Андроника-Христа по бурному морю в попытке спастись от преследования (а может быть и к бегству в Египет).
Таким образом, история Эдипа - возможно говорит о событиях 12-13 веков, в чем-то об Андронике-Христе и в чем-то об Иуде, а Фивы - Царьград времен крестовых походов? А может быть и содержит слой эпохи Ивана Грозного?

По мнению Великовского, Эдип = Эхнатон http://en.wikipedia.org/wiki/Akhnaton

с темой инцеста связана и греческая Мирра, мать Адониса. Ovide Moralisé предлагает христианское понимание этого сюжета:
...Bitter myrrh represents the Virgin Mary, the daughter and handmaiden of God, who was sought by many men but could only love God, Who loved her too above all others: ‘par cele se joint charnelment | Diex a sa fille voirement’ (3790: thus truly God united in the flesh with his daughter).64 This was the conception of Adonis/Christ, the lord and saviour of the world, who removed all reproach and sin from his parents (3799). The boar which killed Adonis represents the Jews; his revival as a flower represents the Resurrection through divine grace. For the Ovide Moralisé poet, Myrrha’s incest is thus entirely necessary and appropriate, and also unique. Here, as in the Oedipus interpolation, the poet turns a shocking story of human incest into the triumphant story of the Incarnation. Not content with this startling interpretation, however, the poet tries out yet another (3878–954), though it seems almost bathetic after the identification with Mary. Now Myrrha is again an incestuous daughter who conceives by her own father, but the context is Christian: confession and penance could save her as they did Mary Magdalene.65 In the end Myrrha does show her repentance in weeping and in great suffering, and God shows that he has pardoned her by turning her into a myrrh tree; she is killed by her sin, but anointed with bitter-sweet contrition and satisfaction just as a dead body is anointed with myrrh. Myrrh is available for all dead bodies, just as God’s grace is available to all sinners who are killing their souls. The final moral is that it is madness not to repent of one’s sins, since God has mercy on every repentant sinner. This interpretation of the Myrrha legend may well have been influenced by the fashion from the late twelfth century on for stories combining incest and contrition (see the following chapters).
64For discussion of the widespread medieval topos of Mary’s ‘holy incest’, see the final chapter.
65Mary Magdalene was identified by medieval readers with the woman taken in adultery and also with St Mary of Egypt; see Karras, ‘Holy Harlots’.

из википедии:
http://ru.wikipedia.org/wiki/Мирра_(мифология)
Мирра (Смирна, др.-греч. Μύρρα, Σμύρνα) — персонаж древнегреческой мифологии<1>, дочь царя Кипра Кинира и Кенхреиды, мать Адониса (отец и дед одновременно — в древнегреческой мифологии Кинир).
Она воспылала грешной любовью к своему отцу и, пользуясь чужим именем и темнотой, утолила свою страсть — возлегла с ним во время праздника Деметры. Отец, раскрыв обман, хотел её убить, но Мирре удалось бежать. В Сабейской земле она превратилась в мирровое дерево. Илифия из щели в коре вытащила младенца Адониса<2>.
В других источниках она носит имя Смирна. Дочь Фоанта. Её мать говорила, что её дочери красивее Афродиты, и та внушила Смирне любовь к отцу<3>. Превратилась в дерево смирну<4>. Мать Адониса (согласно Паниасиду)<5>. Поэму «Смирна» написал римский поэт I в. до н. э. Гельвий Цинна. До наших дней эта поэма, бывшая предметом восхищения Катулла, не дошла — сохранились лишь отдельные строки.
Данте в своей «Божественной комедии» помещает её в 8 круг ада как поддельщицу.
http://commons.wikimedia.org/wiki/File:%27Birth_of_Adonis%27,_oil_on_copper_painting_by_Marcantonio_Franceschini,_c._1685-90,_Staatliche_Kunstsammlungen,_Dresden.jp g

из щели в коре вытащили младенца - возможно отражение кесарева сечения. Сабейская земля - Савская? Софийская?

еще некоторые цитаты из книжки Archibald:
...Adonis, the epitome of human beauty and beloved of Venus herself, was the result of father–daughter incest; and according to Lydgate at least, the short-lived son of Canace and Macareus was also notably beautiful. Father Cenci had some justification for his claim that the children of incest grew up to be saints: legendary holy men conceived through incestuous relationships include Gregorius, Albanus, and in the Irish tradition St Cuimmin. Cuchulain, Hrólf, and Siegfried are examples of heroes produced by incestuous liaisons. The notion that a special child is born as the result of some form of sexual transgression is found in myths and legends all over the world.15 Rudhardt draws attention to a Greek tradition that Zeus not only slept with his sister Demeter but also with their daughter Persephone, and that the result of this father–daughter incest was Dionysus.16 In some accounts, the infant Dionysus was killed and eaten by the Titans, but his heart was preserved and so Zeus was able to make him be born a second time. The Titans were destroyed by thunderbolts and humankind was born of their ashes; thus something of the murdered god passed into humans. This story offers suggestive parallels with the story of Christ, another example of the belief that unorthodox conception produces extraordinary heroes.17
Tertullian pointed out in a tone of invincible superiority that unlike the gods of Greek and Roman myth, Christ was born without any taint of incest or adultery.18 In fact incest was associated with the birth of Christ throughout the Middle Ages, but far from being a source of reproach, it was a matter for celebration: ‘the description of the Virgin Mary as being both mother and daughter of Jesus Christ, the so-called mater et filia topos, is one of the oldest of the paradoxes applied to her.’
15See Rank, Myth. Lisa Bitel notes that in Irish legend ‘in sagas and saints’ lives . . . women coupled with their fathers or brothers—sometimes more than one—to produce kingly heroes and holy men’ (Land of Women, 60).
16Rudhardt, ‘De l’inceste’, 759–60.
17Origen draws attention to the parallel between Christ and Dionysus only to deny it (Contra Celsum, 4. 17, trans. Chadwick). Earlier in this book, in reply to pagan criticism that Jesus was the product of an adulterous relationship between Mary and a soldier, Origen argues that a man destined to do such great deeds would never have had an illegitimate and dishonourable birth (Contra Celsum, 1. 32).
18Apologeticus, 9. 16; this claim was made by other early Christian writers too, including Origen. Warner notes an early rumour circulating in Alexandria that Jesus was Mary’s son by her own brother (Alone, 35).
...
The importance and familiarity of this topos is emphasized by the addition of father–daughter incest to the legend of Antichrist in the thirteenth century (if not earlier). In a grotesque parody of the Christian story which also draws on the notion of incest as original sin, Antichrist is said in Berengier’s De l’avenement Antecrist to be ‘born in Babylon from an incestuous relationship between the devil and his whorish daughter’.23
23See Emmerson, Antichrist, 82–3. He notes that Gower in the Mirour de l’Omme makes the devil and his daughter Sin give birth to Death, who then mates with his mother to produce the Seven Deadly Sins (205–37). Noam Flinker has argued in ‘Cinyras, Myrrha’ that the story of Myrrha and her father was the source for Milton’s allegory of Death as the product of Satan’s incest with his daughter Sin, and of Death’s subsequent rape of his own mother (Paradise Lost, 2. 746–814). But it seems more likely that Milton was aware of these late medieval legends and that, like the medieval inventors of the Antichrist legend, he was deliberately creating an evil parody of the Christian story.
...
32Méla implies that for medieval exegetes who loved word-play, the name Myrrha, ‘la mirre amere’ (bitter myrrh), might have suggested an association with Mary, who was traditionally described as ‘mare amarum’ or ‘mer amere’ (bitter sea); see his comments in ‘Oedipe’, 25 and 36. Woolf quotes from a 13th-cent. French lyric in which the paradox of Mary’s relationship to God is illustrated as fruit planting the tree from which it grows, and a fountain emerging from a stream (English Religious Lyric, 132); the fountain/stream example recalls the passage in the story of Byblis in the Ovide Moralisé where her transformation into a fountain is used to illustrate the doctrine of the unity of the Trinity (OM, 9. 2652 ff.—see my comments in Ch. 2).
33Shell argues that the Christian Holy Family is based on the first Jewish family of Abraham, Sarah and Isaac (‘Want of Incest’, 627–8): Christianity responded to Sarah’s dual role as both wife and sister to Abraham by making Mary ‘fully affined to God as God’s fourfold kin’. Méla mentions the story of the birth of Dionysus, and also argues for the influence of the Isis cult (‘Oedipe’, 24, 31, 36).
...
Gower ...in the Confessio Amantis presents Cupid not only as the offspring of the incest of Jupiter and Venus, but also as the lover of his own mother. Georgiana Donavin has argued persuasively that in the Confessio Cupid and Venus, the King and Queen of Love, ‘are exposed as a gross parody of Mary and Jesus, their literal incest a perverted substitute for the spiritual relationship cultivated by the Christian Mother and Son’.
...Pierre Bersuire in his Ovidius Moralizatus (c.1340) interprets the embrace of Venus and Cupid as an allegory of excessive displays of affection between blood-relatives caused by lust (‘Father Time’, 88 n. 72). This could well have been Gower’s source too.

Аллегория с Венерой и Купидоном А. Бронзино:
http://en.wikipedia.org/wiki/Venus,_Cupid,_Folly_and_Time (also called An Allegory of Venus and Cupid and A Triumph of Venus) is an allegorical painting by the Florentine artist Agnolo Bronzino. It is now in the National Gallery, London. About 1545
The two central figures are easily identified by their attributes as Venus and Cupid. For example, she holds the golden apple she won in the Judgement of Paris, while he sports the characteristic wings and quiver. Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips.
The identity of the remaining figures is even more ambiguous. The old woman rending her hair (see detail at right) has been called Jealousy—though some believe her to represent the ravaging effects of syphilis<2> (result of unwise intercourse).

Венера держит в руке золотое яблоко, полученное на Суде Париса, Купидон держит колчан со стрелами. "Суд Париса", Адам и Ева с яблоком, Венера с яблоком и Купидон - возможно светские отражения одного и того же сюжета, одной и той же пары.

...At the end of Shakespeare’s version of the evergreen Apollonius story the hero (here named Pericles), who has abandoned himself to despair, is reunited with his long-lost daughter Marina and hails her as ‘Thou that beget’st him that did thee beget’ (v. i. 196). This riddling phrase with its incestuous implications is an ingenious expression of his sense of being restored to life. It is also strikingly close to the traditional phrases used to describe Mary’s relationship to Christ, such as ‘tu quae genuisti . . . tuum sanctum genitorem’ (you who gave birth to your holy father).
...
The immaculate ‘incest’ of Mary and her Father/Brother/Son is the salvation of mankind, the solution to the problem of original sin which was created by the Fall of Adam and Eve. Medieval writers sometimes interpreted incest as representing original sin; Thompson’s linking of incest and the apple tree in his poem on the Virgin quoted at the beginning of this chapter is peculiarly apt.

In classical myth and literature, incest is a frequent theme in stories of gods, heroes, and mortals... Cronus married his sister Rhea and was subsequently deposed by their son Zeus, who in turn married his sister Hera. Similarly in Egyptian myth the brothers Osiris and Set married their sisters Isis and Nephthys. The first stages of creation permit, indeed necessitate incest... Aphrodite, daughter of Zeus and Dione in some accounts, married her half-brother Hephaestus, son of Zeus and Hera, and had an affair with another half-brother, Ares. Zeus slept with his sister Demeter, and also with their daughter Persephone.

...Thyestes’ seduction of his own daughter Pelopia to beget a son (Aegisthus)...
...the story of Sisyphus, condemned for eternity to roll a stone up a steep hill in the underworld in punishment for seducing his niece Tyro...

...Jocasta hung herself; Oedipus put his eyes out (in Sophocles’ version he feared recriminations in the underworld; in some versions his own servants blinded him on Creon’s orders, though in Homer he is not blinded at all).
в некоторых версиях Эдипа ослепляют его слуги по приказу Креонта - возможно это отражение издевательств над Андроником-Христом, а именно выколотого/вырванного/поврежденного глаза или глаз.

Another category of classical incest story concerns historical or pseudo-historical characters. Parthenius tells the story of Periander, tyrant of Corinth, whose mother Krateia fell desperately in love with him.11 She persuaded him that a beautiful woman longed to sleep with him but wished to remain unidentified and insisted on total darkness. Periander accepted the conditions and enjoyed the affair, but after some time decided to conceal a light in his bedroom in order to look at his mysterious lover. On discovering that she was in fact his own mother he tried to kill her, but was deterred by a divine apparition. Maddened by these experiences, he turned into a cruel and violent tyrant; his mortified mother killed herself. Parthenius’ story does not seem to have caught the popular imagination, but it is an example of a frequent theme in classical incest stories: the link between incest and tyranny. Krateia, the name of Periander’s mother, means sovereignty; once he has possessed sovereignty, he becomes a tyrannical ruler.
11Love Romances, no. 17; on parallels between Oedipus and Periander see Vernant, ‘Le Tyran boiteux’.

...various historical Greek and Roman rulers (Caligula, Nero) and politicians (Cimon, Alcibiades, Clodius) were accused of incest, and so was a legendary eastern empress, Semiramis, builder of the hanging gardens of Babylon. In the case of Semiramis, confusion may have been caused by the fact that her husband and her son were both named Ninus...

...the fall of Camelot is attributed to Arthur’s incestuous begetting of Mordred in some versions of the Arthurian legend.

Méla sees the influence of the Oedipus legend in a great deal of medieval narrative, including the Arthurian legend.

Mordred is the Judas at the Round Table who betrays his lord (and his father). There is a fatalism about his story which is reminiscent of both Judas and Oedipus; the prophecy of disaster is ineluctable, the monstrous sin cannot be absolved. Neither Mordred’s attempted incest nor his successful parricide brings about the sort of peripeteia that we have seen in other medieval stories of mother–son incest, whether consummated or averted. In the Arthurian legend parricide means the end of Arthur, and thus the end of the whole story.

82There is an example of deliberate (and multiple) mother–son incest in the legendary history of Britain, according to a narrative found in both Latin and Anglo-Norman and often attached to French prose Bruts, and sometimes to Geoffrey of Monmouth’s Historia: see Des Granz Geanz, ed. Brereton, trans. Régnier-Bohler in Le Cœur mangé, 281–92, and for discussion and recent bibliography, Lesley Johnson, ‘Return to Albion’, in Arthurian Literature, 13 (1995), 19–40. The thirty (or fifty) daughters of a Greek king are set adrift after murdering their husbands (Данаиды-Иудифи?). They come to an uninhabited island which they name Albion after the eldest, Albina. Sexually frustrated, they sleep first with incubi, and then with the giant sons produced by this intercourse. When Brutus and the Trojans arrive, they kill all the giants except Gogmagog, who tells the story of his origins. This strange episode may be a sort of parody of Gen. 6: 1–5, where the sons of God sleep with the daughters of men and beget a race who behave so badly that God devises the Flood.

Herodotus’ account of Egypt.53 King Mykerinus, son of Cheops the pyramid builder and generally an admirable ruler himself, seduced his own daughter; when she killed herself out of grief, he had her buried in a sarcophagus shaped like a golden cow. His wife is said to have ordered the hands of all the maids who acted as accomplices to be cut off, but Herodotus finds this tale unconvincing; he suggests that it arose because the statues of female companion figures in the tomb of Mykerinus’ daughter had lost their arms.54 It seems unlikely that broken statuary could have been the source of the theme which later became so widespread in folklore and in literature too, but this early tale of father–daughter incest does suggest that mutilation of the hands may originally have been a punishment (whether of the victim or of accomplices), or perhaps a threat.55
53Herodotus, Histories, 2. 129–31.
55In classical myth Philomela’s tongue was cut out by her brother-in-law Tereus to prevent her revealing that he had raped her; in a similar episode in Shakespeare’s Titus Andronicus the villainous rapists cut off their luckless victim’s hands as well as her tongue.

вот как пишет Геродот про Микерина: http://www.vehi.net/istoriya/grecia/gerodot/02.html
129. Затем царем Египта, по словам жрецов, стал Микерин, сын Хеопса. Ему не по душе были отцовские деяния. Он открыл храмы и освободил измученный тяготами народ, отпустив его трудиться <на своих полях> и приносить жертвы. Он был самым праведным судьей из всех царей, за что его особенно восхваляют египтяне среди всех когда-либо правивших над ними царей. Ведь он был не только судьей праведным, но даже давал деньги из своего добра недовольным его приговорами, чтобы удовлетворить их просьбы. Этого-то Микерина, столь кроткого к своим подвластным и так заботившегося о них, поразили тяжкие удары судьбы. Первым несчастьем была кончина дочери, единственного ребенка в его доме. Глубоко скорбя об этой беде, царь пожелал предать ее погребению с еще большей пышностью, чем это было в обычае. Он приказал изготовить из дерева пустотелую <статую> коровы<141>, позолотить и затем положить в нее покойную дочь.
130. Корова эта, однако, не была погребена в земле, но еще до сего дня ее можно видеть в Городе Саисе, где она стоит в царском дворце в пышно украшенном покое. Каждый день около нее воскуряют там всевозможные благовония, а целую ночь возжигают светильник. Близ этой коровы в другом покое стоят статуи наложниц Микерина, как мне, по крайней мере, рассказывали саисские жрецы. Это – нагие колоссальные статуи женщин<142>из дерева числом 20. Но кто они – об этом я могу лишь повторить то, что мне сообщили.
131. Другие же сообщают об этой корове и о колоссальных женских статуях вот какое сказание. Микерин будто бы воспылал страстью к своей родной дочери и против ее воли силой овладел ею. После этого девушка, говорят, с горя и стыда сунулась в петлю. Отец же предал ее погребению в этой корове, а мать девушки велела отрубить руки служанкам, которые выдали дочь отцу. Еще и поныне их безрукие статуи показывают, что они претерпели при жизни. Все это, впрочем, как мне думается, пустая болтовня, особенно же – история с руками статуй. Ведь я сам видел, что руки у статуй отвалились от времени и еще при мне лежали тут же у ног.
132. А корова почти целиком покрыта пурпурной одеждой, кроме шеи и головы, которые позолочены толстым слоем золота. Между рогами находится изображение солнечного диска также из золота. Корова не стоит прямо, но лежит на камнях, а величиной она с большую живую корову. Каждый год ее выносят из покоя, именно в тот день, когда египтяне бьют себя в грудь в честь бога, которого я не хочу называть из благоговейного страха<Диониса>. Рассказывают, что дочь перед смертью попросила отца позволить ей один раз в год видеть солнце.
134. И этот царь также оставил пирамиду, хотя и значительно меньше отцовской: каждая ее сторона на 20 футов короче 3 плефров. Она также четырехугольная и наполовину построена из эфиопского камня<145>. Некоторые эллины думают, что это пирамида гетеры Родопис, но это неверно. Они утверждают так, очевидно не зная, кто была Родопис. Иначе ведь они не могли бы приписать ей постройку такой пирамиды, для чего, вообще говоря, потребовались бы тысячи и тысячи талантов. Кроме того, Родопис жила во времена царя Амасиса, а не при Микерине, т. е. много поколений позднее строителей этих пирамид. Родопис происходила из Фракии и была рабыней одного самосца, Иадмона, сына Гефестополя. Вместе с ней рабом был и баснописец Эзоп. Ведь и он принадлежал Иадмону, что особенно ясно вот из чего: когда дельфийцы по повелению божества вызывали через глашатая, кто желает получить выкуп за убиение Эзопа<146>, то никто не явился, кроме внука Иадмона, которого также звали Иадмоном. Он и получил выкуп. Стало быть, Эзоп принадлежал тому Иадмону.
135. А Родопис прибыла в Египет; ее привез туда самосец Ксанф. Прибыв же туда для занятия своим “ремеслом”, она была выкуплена за большие деньги митиленцем Хараксом, сыном Скамандронима, братом поэтессы Сапфо. Так-то Родопис получила свободу и осталась в Египте. Она была весьма прелестна собой и потому приобрела огромное состояние – для такой, как Родопис, – но далеко не достаточное, чтобы на него построить такую пирамиду. Десятую часть ее добра каждый желающий может видеть еще и сегодня (поэтому можно думать, что оно было не слишком уж велико). Ведь Родопис пожелала оставить о себе память в Элладе и придумала послать в Дельфы такой посвятительный дар, какого еще никто не придумал посвятить ни в одном храме. На десятую долю своих денег она заказала (насколько хватило этой десятой части) множество железных вертелов<147>, столь больших, чтобы жарить целых быков, и отослала их в Дельфы. Еще и поныне эти вертелы лежат в куче за алтарем, воздвигнутым хиосцами, как раз против храма<148>. Гетеры же в Навкратисе вообще отличались особенной прелестью. Эта, о которой здесь идет речь, так прославилась, что каждый эллин знает имя Родопис. После Родопис была еще некая Архидика, которую также воспевали по всей Элладе, хотя о ней было меньше толков, чем о Родопис. А когда Харакс, выкупив Родопис, возвратился в Митилену, то Сапфо зло осмеяла его в одной своей песне. Впрочем, о Родопис довольно.

корова с солнцем между рогами - символ Изиды. А сюжет с отрубленными руками у статуй не есть ли тот же, что и отрубленные руки дочери шекспировского Тита Андроника Лавинии, две отрубленные руки Афония у одра богородицы (отражение кесарева сечения)? Да и изнасилование дочери якобы самим Микерином не отражение ли изнасилования Лавинии, Лукреции, девы Марии?
К тому же "гетера Родопис" была так прославлена, что каждый знал ее имя.

о Родопе/Родопис:
Родопа (др.-греч. Ῥοδόπη) — персонаж древнегреческой мифологии, царица Фракии, сестра Гема.
Брат с сестрой были влюблены друг в друга, она называла себя Герой, а брата Зевсом, за что они были наказаны богами — превращены в горные хребты во Фракии — Родопы и Гемские (Балканские) горы<1>. http://ru.wikipedia.org/wiki/Родопа

случайно ли, что брат с сестрой (опять влюблены) называли себя Зевсом и Герой, т. е. верховными богами?

http://en.wikipedia.org/wiki/Rhodopis_(disambiguation)
Rhodopis, an ancient Egyptian folk tale and precursor to Cinderella
Rhodopis (hetaera), ancient Greek courtesan mentioned by Herodotus who may underlie the Rhodopis story

Родопис - предшественница Золушки/Синдереллы. Начало истории:

http://www.egyptianmyths.net/mythslippers.htm Ancient Egypt: the Mythology - The Girl with the Rose Red Slippers
In the last days of Ancient Egypt, not many years before the country was conquered by the Persians, she was ruled by a Pharaoh called Amasis. So as to strengthen his country against the threat of invasion by Cyrus of Persia, who was conquering all the known world, he welcomed as many Greeks as wished to trade with or settle in Egypt, and gave them a city called Naucratis to be entirely their own...

Родопис смешивали с Нитокрис:

http://en.wikipedia.org/wiki/Rhodopis_(hetaera)
There was a tale current in Greece that Rhodopis built the third pyramid. Herodotus takes great pains to show the absurdity of the story, but the story kept its ground, and is related by Pliny the Elder as an unquestioned fact.<5> The origin of this tale, which is unquestionably false, has been explained with great probability by Georg Zoega and Christian Charles Josias Bunsen. In consequence of the name Rhodopis, she was confounded with Nitocris, the Egyptian queen, and the heroine of many an Egyptian legend, who is said by Julius Africanus and Eusebius to have built the third pyramid.<1>
Another tale about Rhodopis related by Strabo and Aelian makes her a queen of Egypt, and thus renders the supposition of her being the same as Nitocris still more probable. It is said that as Rhodopis was one day bathing at Naucratis, an eagle took up one of her sandals, flew away with it, and dropped it in the lap of the Egyptian king, as he was administering justice at Memphis. Struck by the strange occurrence and the beauty of the sandal, he did not rest till he had found out the fair owner of the beautiful sandal, and as soon as he had discovered her made her his queen.<1> This is the Rhodopis story, famed for being the earliest Cinderella story.
http://en.wikipedia.org/wiki/Nitocris
Manetho claims she built the "third pyramid" at Giza, which is attributed by modern historians and archaeologists to Menkaure. Herodotus also has a Babylonian queen of the same name and talks of her constructions in Babylon, mainly connected with diverting the Euphrates.

Нитокрис было две, египетская и вавилонская (хотя Вавилон был и в Египте, как известно). Египетская Нитокрис по Геродоту известна тем, что отомстила за смерть брата сразу многим египтянам, заманив их в подземный покой и затопив водой (История II 100) - не отражение ли мести княгини Ольги и Кримхильды?

продолжу цитаты из книжки Archibald о примерах инцеста:
...Another sister who desired her own brother was less fortunate than Phénonée; her story explains the origin of the Beste Glatissant, better known to English readers as the Questing Beast. This story, reminiscent of the tragedy of Phaedra and Hippolytus, and also of the transformation of Scylla in Ovid’s Metamorphoses (14. 59 ff.), appears at the very beginning of the so-called Post-Vulgate Cycle or Romance of the Grail in the Suite du Merlin.11 The Beast is the monstrous result of thwarted sibling incest.
...
Furtado points out that medieval readers might well have associated the Questing Beast with the seven-headed beast of Revelations, thus adding eschatological implications to its part in the story of Arthur (‘Questing Beast’, 40).

incest with a sister was inserted into the legends of two of the most famous and admired kings in medieval literature, Charlemagne and Arthur

Morgan, discussing an early 14th-cent. Franco-Italian version of the life of Charlemagne’s mother Berta, argues that her deformed foot made her a ‘marked woman’, and that she transmitted her misfortune and suffering to her son so that ‘in biblical terms, her evil is visited upon the second generation’ in the form of Charlemagne’s incest (‘Berta’, esp. 40–5).

мать Карла Великого имела какую-то деформацию ноги. В то же время отец Эдипа Лаий был сыном Лабдака (Лабда-Ламбда - хромой), а бабушка Периандра была хромая Лабда, которой было предсказано оракулом, что она родит нечто ужасное (Геродот Истории V 92 http://www.vehi.net/istoriya/grecia/gerodot/05.html ), Бакхиады-Ироды хотели погубить младенца, но он уцелел, его спрятали в сундуке, отсюда он получил и имя Кипсел. Он был тираном и отцом тирана Периандра, который известен инцестом с матерью.

http://en.wikipedia.org/wiki/Labdacus
http://en.wikipedia.org/wiki/Labda_(mythology)
According to Herodotus, Labda (Greek: Λάβδα) was a daughter of the Bacchiad Amphion, and mother of Cypselus, by Eetion.<1> Her name was derived from the fact of her feet being turned outward, and thus resembling the letter lambda (Λ),<2> which, by the accounts of the most ancient Greek grammarians, was originally pronounced labda .

64Morris, Character, 131–2. In a later article she makes an interesting point in relation to the parallels between the conceptions of Arthur and Alexander (see ‘Uther’, 75). Alexander fulfils a prophecy by killing his unrecognized biological father Nectanebus; Arthur is conceived through a magical trick, rather like Alexander, but instead of killing his father he is killed by his own son. Morris suggests that in the Arthurian legend the motif of vengeance on the father skipped a generation.

про Александра Македонского есть апокрифическая история, в которой он убивает отца Нектанеба. (Можно вспомнить и Сохраба с Рустамом).

http://en.wikipedia.org/wiki/Nectanebo_II#Nectanebo_and_the_Alexander_Romance
There is an apocryphal tale, appearing in the pseudo-historical Alexander Romance, which details another end for the last Egyptian Pharaoh of Egypt. Soon after Alexander the Great's godhood was confirmed by the Oracle of Zeus Ammon, a rumor was begun that Nectanebo II did not travel to Nubia but instead to the court of Philip II of Macedon in the guise of an Egyptian magician. There, while Philip was away on campaign, Nectanebo convinced his wife Olympias that Amun was to come to her and that they would father a son. Nectanebo, disguising himself as Amun, slept with Olympias and from his issue came Alexander.<25> This myth would hold strong appeal for Egyptians who desired continuity and harbored a strong dislike for foreign rule.

http://wareh.wikia.com/wiki/Confessions_by_Alexander_the_Great
...Before Alexander is born, the Romance goes into detail about how Alexander was conceived. It is said in the book that Philip is not really Alexander’s father, but the Egyptian Nectanebo was the actual culprit of adulteration. While Philip was away at war, Nectanebo actually tricked Olympias into thinking that he was a God, and made love to Olympias on numerous occasions, eventually getting her pregnant.
Upon the time of Alexander’s birth, it was said that “there were great claps of thunder and flashes of lightning so that all the world was shaken” (Romance 44).
...Although Alexander had a great early childhood, things would start to get complicated with the death of Nectanebo. In the story, Alexander pretended to be interested in astronomy in order to lure Nectanebo into a trap. Alexander would end up pushing him into a large pit, severely injuring his neck. Nectanebo then went on to tell Alexander that he was actually his father, and died shortly after. Alexander obviously did not feel too good about this.
...He also mastered the man-eating horse that his father had locked up.
...In Augustine’s Confessions, the first two books describe his childhood and his sinful wrongdoings as a child. A large portion of this is Augustine describing his incident stealing pears with his friends...

а вот рассказ из Suite du Merlin, где король Артур выступает скорее в роли царя Ирода (Мерлин - частично очевидно Иоанн Креститель, частично волхвы, Мордред - очевидно Христос):
The first coherent account of Mordred’s conception, exposure, and miraculous survival seems to have been written down (and perhaps invented) by the author of the Suite du Merlin, the first part of the Post-Vulgate Cycle. Fanni Bogdanow has shown how this writer made Arthur’s incest a central theme of his narrative, and how this approach was continued by the other authors of this cycle, so that the final disasters are explicitly linked to Arthur’s initial sin not only by the narrator but also by Arthur himself.41
The Queen of Orkney comes to court with her four sons; neither she nor the recently crowned Arthur knows of their relationship. Arthur is attracted to her, keeps her at court for a month, sleeps with her, and begets Mordred. After her departure he has a disturbing dream in which a dragon and griffins ravage England. He manages to destroy the dragon, which has killed all his men, but is fatally wounded himself. Next day Merlin reveals that Arthur has committed a terrible sin by sleeping with his own sister, and that their child will do grea