In the Qur ' an's narrative of Abraham's near-sacrifice of his son ( XXXVII: 102 ), the name of the son is not mentioned and debate has continued over the son's identity, though many feel that the identity is the least important element in a story which is given to show the courage that one develops through faith.

The Qur ' an cites the story of the " people of Lot " ( also known as the people of Sodom and Gomorrah ), destroyed by the wrath of God because they engaged in " lustful " carnal acts between men.

The Qur ' an narrates the story of Joseph in detail, and Jacob, being Joseph's father, is mentioned thrice and is referenced another 25 times.

The Biblical story of Jonah is also repeated, with minor differences, in the Qur ' an.

Jonah's Qur ' anic narrative is extremely similar to the Hebrew Bible story.

Most of the key events in Moses ' life which are narrated in the Bible are to be found dispersed through the different Surahs of Qur ' an, with a story about meeting Khidr which is not found in the Bible.

In the Moses story related by the Qur ' an, Jochebed is commanded by God to place Moses in an ark and cast him on the waters of the Nile, thus abandoning him completely to God's protection.

The biblical story of Jonah being swallowed by a whale is also told in the Qur ' an.

In one tale, " The Seven Viziers " ( also known as " Craft and Malice of Women or The Tale of the King, His Son, His Concubine and the Seven Wazirs "), a courtesan accuses a king's son of having assaulted her, when in reality she had failed to seduce him ( inspired by the Qur ' anic / Biblical story of Yusuf / Joseph ).

The Qur ' an, the holy book of Islam, cites the story of the " people of Lot " ( also known as the people of Sodom and Gomorrah ), destroyed by the wrath of Allah because they engaged in lustful carnal acts between men.

Imam Fakhr al-Din al-Razi commenting on Surah 22: 52 in his Tafsir al-Kabir stated that the “ people of verification ” declared the story as an outright fabrication, citing supporting arguments from the Qur ’ an, Sunnah and reason.

William Montgomery Watt and Alfred Guillaume claim that stories of the event were true based upon the implausibility of Muslims fabricating a story so unflattering to their prophet: " Muhammad must have publicly recited the satanic verses as part of the Qur ' ān ; it is unthinkable that the story could have been invented by Muslims, or foisted upon them by non-Muslims.

Regarding the argument of implausibility of Muslims fabricating the story, Shahab Ahmed in the Encyclopedia of the Qur ' an states that " the widespread acceptance of the incident by early Muslims suggests, however, that they did not view the incident as inauspicious and that they would presumably not have, on this basis at least, been adverse to inventing it.

As the story was adapted to include Qur ' ānic material ( Q. 22: 50, Q. 53, Q. 17: 73-74 ) the idea of satanic temptation was claimed to have been added, heightening its inherent drama as well as incorporating additional biblical motifs ( cf.

The image of Muslims and pagans prostrating themselves together in prayer in turn links the story of the satanic verses to very abbreviated sūjud al-Qur ' ān ( i. e. prostration when reciting the Qur ' ān ) traditions found in the authoritative mussanaf hadīth collections, including the Sunni canonical ones of Bukhāri and Tirmidhī.

In fact, the earliest story involving Abraham in the Qur ' an is his discussion with his father.

This story is also mentioned in the Qur ' an in Surah 26: Al-Shu ' ara ' ( The Poets ) in verses 60-67.

In Genesis 22 as well as the Qur ' an, there is a story about Abraham's binding of Isaac, although in the Qur ' an the name of the son is not mentioned and assumed to be Ismail.

The servant in that story is in turn derived from Middle Eastern legends of Al-Khidr, a sage who appears also in the Qur ' an.

The relationship between Abraham and his father, who in the Qur ' an is named Azar, is central to Abraham's story as Muslims understand it to establish a large part of Abraham's personality.

Some passages of the Qur ' an, meanwhile, deal with the story of how God sent angels to Abraham with the announcement of the punishment to be imposed upon Lot's people in Sodom and Gomorrah ( 51: 24 – 34 ; 25: 51 – 60 ).

) is devoted to him, it is the only instance in the Qur ' an in which a entire chapter is devoted to a complete story of a prophet.

The story has the same general outlines as the Biblical narrative, but with certain differences In the Qur ' an the brothers ask Jacob (" Yacub ") to let Joseph go with them.

It is worth dwelling in some detail on the crisis of this story, because it brings together a number of characteristic elements and makes of them a curious, riddling compound obscurely but centrally significant for Mann's work.

that is, he is suspect, guilty, punishable, as is anyone in Mann's stories who produces illusion, and this is true even though the constant elements of the artist-nature, technique, magic, guilt and suffering, are divided in this story between Jacoby and Lautner.

It is the gradual unfolding and deepening of this contradiction which creates the inner dialectic of the evolution of the mystery story.

It is the growing contradiction between individualism and public service in the mystery story which creates this fatal dilemma.

And the best way to conceal and disguise the elements of an incest story is not to set out to write an incest story.

`` The Rocking Horse Winner '' is also a story about a boy's love for his mother.

It is the story of the hopeless love of a little boy for his cold and vain mother.

The rocking is actually felt in the story, a terrible and ominous rhythm that prophesies the tragedy.

The rocking, I realized, is the single element in the story that carries the erotic message, the unspoken and unconscious undercurrent that would mar the innocence of a child's fantasy and disturb the effects of the work if it were made explicit.

And when the child dies in Lawrence's story in a delirium that is somehow brought on by his mania to win and to make his mother rich, the manifest absurdity of such a disease and such a death does not enter into our thoughts at all.

It is most probable that Freud and the Oedipus complex never entered his head in the writing of this story.

An ivory tablet in the infant's cask recounts the story of his sinful origins and is preserved for the child by the monks of a monastery in the fishing village.

Then he would get to his feet, as though rising in honor of his own remarkable powers, and say almost invariably, `` Gentlemen, this is an amazing story!!

Perhaps it is only an analogy, but one of the most obvious differences between cheap fiction and fiction of an enduring quality is the development of a theme or story with leisure and anticipation.

The complexities of Venetian politics eluded him, but the story of the revolution itself is told in restrained measures, with no superfluous passages and only an occasional overemphasis of the part played by its leading figure.

Once the scene is set, Trevelyan skilfully builds up the tense story until it reaches its climax in the dramatic victory of Marlborough and Eugene of Savoy at Blenheim.

There is, of course, nothing new about dystopias, for they belong to a literary tradition which, including also the closely related satiric utopias, stretches from at least as far back as the eighteenth century and Swift's Gulliver's Travels to the twentieth century and Zamiatin's We, Capek's War With The Newts, Huxley's Brave New World, E. M. Forster's `` The Machine Stops '', C. S. Lewis's That Hideous Strength, and Orwell's Nineteen Eighty-Four, and which in science fiction is represented before the present deluge as early as Wells's trilogy, The Time Machine, `` A Story Of The Days To Come '', and When The Sleeper Wakes, and as recently as Jack Williamson's `` With Folded Hands '' ( 1947 ), the classic story of men replaced by their own robots.

Beginning in Cloth Of The Tempest ( 1943 ) he experimented in merging poetry and visual art, using drawings to carry long narrative segments of a story, as in Sleepers Awake, and constructing elaborate `` poems-in-drawing-and-type '' in which it is impossible to distinguish between the `` art '' and the poetry.

The story of the fatal crash is not fully known.