Parallels Between the Qur'an and Late Antique Judeo-Christian Literature: Difference between revisions

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 Another important set of parallels is found in the ''Cave of treasures'', dating to the sixth century CE.<ref>Witztum says it has been dated to the fifth or sixth century: Joseph Witztum, ''Syriac Millieu'' pp. 80-81</ref><ref>In a detailed analysis, Sergey Minov concludes that "the most likely date for this work's composition is the span of time between the middle of the sixth century and the first decades of the seventh century." Minov, S. (2017) [https://www.academia.edu/31601350 Date and Provenance of the Syriac Cave of Treasures: A Reappraisal] Hugoye: Journal of Syriac Studies 20:1 (2017), 129-229.</ref> It was written in Syriac by Christians from earlier Jewish sources and contains another version of the prostration story which is even closer to the Quranic version. The sequence of events in the Quran and many details are as found in this work.
-Reynolds observes: "In the Syriac Christian work ''Cave of Treasures'' - as in the Qurʾān (v. 12) - the angels prostrate before Adam, but the devil refuses to do so, with the explanation that he is made from fire while Adam is made from dirt". Reynolds here cites "''Cave of Treasures'' [Oc.], 2:12-13, 22-25, and 3:1-2". Reynolds notes in one of his other books that this "marks a distinct development in the narrative of the devil's rebellion. According to the ''Life of Adam and Eve'', the devil's excuse for not worshipping Adam is that he was created first. In the ''Cave of Treasures'', however, the devil's excuse is that he was created from fire, while Adam was created from dirt. It is this tradition that is reflected in the Qurʾān: 'I am better than he is. You created me from fire. You created him from clay.' (Q 7.12; cf. 15.33; 17.61; 38.76)."<ref>Gabriel Said Reynolds, "The Qurʾān and its Biblical subtext", London and New York: Routledge, 2010, p.51, ISBN 9780415524247</ref>|
+Reynolds observes: "In the Syriac Christian work ''Cave of Treasures'' - as in the Qurʾān (v. 12) - the angels prostrate before Adam, but the devil refuses to do so, with the explanation that he is made from fire while Adam is made from dirt". Reynolds here cites "''Cave of Treasures'' [Oc.], 2:12-13, 22-25, and 3:1-2". Reynolds notes in one of his other books that this "marks a distinct development in the narrative of the devil's rebellion. According to the ''Life of Adam and Eve'', the devil's excuse for not worshipping Adam is that he was created first. In the ''Cave of Treasures'', however, the devil's excuse is that he was created from fire, while Adam was created from dirt. It is this tradition that is reflected in the Qurʾān: 'I am better than he is. You created me from fire. You created him from clay.' (Q 7.12; cf. 15.33; 17.61; 38.76)."<ref>Gabriel Said Reynolds, "The Qurʾān and its Biblical subtext", London and New York: Routledge, 2010, p.51, ISBN 9780415524247</ref> An earlier source for this element, known as the ''Questions of Bartholomew'', was originally written in Greek by a Christian and has been variously dated from the 2nd to 6th century CE (Sergey Minov's opinion is 2nd-3rd century). It closely follows the ''Life of Adam'' narrative, but after Michael tells Satan to worship Adam, Satan replies, "I am fire of fire, I was the first angel to be formed, and shall I worship clay and matter?".<ref>Sergey Minov, “Satan’s Refusal to Worship Adam: A Jewish Motif and Its Reception in Syriac Christian Tradition,” in: M. Kister et alii (eds.), Tradition, Transmission, and Transformation from Second Temple Literature through Judaism and Christianity in Late Antiquity (STDJ 113; Leiden: Brill, 2015), 230-271. (see pp. 247-9)</ref>
 {{Quote|Cave of Treasures (Western recension) 2:12-13, 22-25, and 3:1-2<ref>Gabriel Said Reynolds, "The Qurʾān and its Biblical subtext", p.50</ref>|God formed Adam in his holy hands, in His image and in His likeness. When the angels saw the image and the glorious appearance of Adam, they trembled at the beauty of his figure...Moreover, the angels and celestial powers heard the voice of God saying to Adam, "See, I have made you a king, priest and prophet, Lord, leader and director of all those made and created. To you alone have I given these and I give to you authority over everything I have created." When the angels and archangels, the thrones and dominions, the cherubims and seraphins, that is when all of the celestial powers heard this voice, all of the orders bent their knees and prostrated before him.<BR />
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 The Syriac metrical homily also features the episode of Alexander enclosing Gog and Magog behind a wall, derived from the slightly earlier Syriac Alexander Legend, and which occurs in the Dhu'l Qarnayn pericope, discussed below. It cannot be a coincidence that, like surah al-Kahf, the Syriac homily has both stories, perhaps providing a clue to the content of their ultimate common source. See the Water of Life section in the main article for a more detailed discussion, including relevant quotes from the Syriac homily.
 ===Moses and al Khidr===
-The story of Moses and al-Khidr occurs in {{Quran-range|18|65|82}}. A J Weinsink (d. 1939) proposed that it was derived from the story of Rabbi Joshua ben Levi, though more recent scholarship has shown that the latter is late and heavily influenced by the Islamic tradition. More successfully, Roger Paret identified a significant Christian parallel that predates the Quran.<ref>Gabriel Said Reynolds,"The Quran and Bible:Text and Commentary", New Haven: Yale University Press, 2018 p. 465</ref> It is an example of a genre of literature known as "theodicy" (dealing with the theological problem of evil). Paret identified this parallel in a late sixth or early seventh century CE tale, the Leimon (or Pratum Spirituale, Spiritual Meadow) of John Moschus (d. 619 CE). The basic structure of the story is identical to the Quranic passage, and has many similarities of detail though also differences.
+The story of Moses and al-Khidr occurs in {{Quran-range|18|65|82}}. A J Weinsink (d. 1939) proposed that it was derived from the story of Rabbi Joshua ben Levi, though more recent scholarship has shown that the latter is late and heavily influenced by the Islamic tradition. More successfully, Roger Paret identified a significant Christian parallel that may predate the Quran.<ref>Gabriel Said Reynolds,"The Quran and Bible:Text and Commentary", New Haven: Yale University Press, 2018 p. 465</ref> It is an example of a genre of literature known as "theodicy" (dealing with the theological problem of evil).
+Paret identified this parallel in a popular (though not authoritative) version of a late sixth or early seventh century CE collection of middle eastern monastic tales, the ''Leimon'' (in its original Greek, or Pratum Spirituale in Latin, which translates to Spiritual Meadow) of John Moschos (d. 619 CE). This version includes a set of supplementary stories, published by Elpidio Mioni, which are now generally considered not to have been penned by Moschus and include the Quranic parallel. They do nevertheless appear to originate from Palestinian monastics of the 7th century according to Sean Anthony, likely added by one of Moschus' Palestinian disciples.<ref>See [https://twitter.com/shahanSean/status/1511047308070248457 this tweet] by Professor Sean Anthony and the preceding discussion - Twitter.com 2 April 2022 ([https://web.archive.org/web/20220404182553/https://twitter.com/shahanSean/status/1511047308070248457 archive])</ref> The basic structure of the story is identical to the Quranic passage, and has many similarities of detail though also differences.
 A wandering ascetic is upset by notions of divine justice demonstrated to him by an angel before the events are explained to him. Like the Quran, the story involves three perplexing acts by the divine servant followed by an explanation to his exasperated companion, the second and third of which have obvious similarities to the Quranic pericope: In order to spare his father's salvation, a boy is killed who would have grown up commiting evil; and in a town where no-one would offer them hospitality, a wall containing hidden treasure on the verge of collapsing is repaired without asking for payment.