development in the 7th century. A thriving poetic tradition existed at the time of Muhammad, but Muslim scholars such as Afnan Fatani contend that Muhammad had brought, despite being unlettered, something that was superior to anything that the poets and orators had ever written or heard. The Qur'an states that poets did not question this, what they rejected was the Qur'an's ideas, especially monotheism and resurrection. Numerous Muslim scholars devoted time to finding out why the Qur'an was inimitable. The majority of opinions was around eloquence of the Qur'an are in both wording and meaning as its speech does not form to poetry nor prose commonly expressed in all languages. However, some Muslims differed, claiming that after handing down the Qur'an, God performed an additional miracle which rendered people unable to imitate the Qur'an, and that this is the source of I'jaz. This idea was less popular, however. Nonlinguistic approaches focus on the inner meanings of the Qur'an. Oliver Leaman, favoring a nonlinguistic approach, criticizes the links between aesthetic judgment and faith and argues that it is possible to be impressed by something without thinking that it came about supernaturally and vice versa it is possible to believe in the divine origin of the Qur'an without agreeing to the aesthetic supremacy of the text. He thinks that it is the combination of language, ideas, and hidden meanings of the Qur'an that makes it an immediately convincing product. Classic works There are numerous classical works of Islamic literary criticism which have studied the Qur'an and examined its style: The most famous works on the doctrine of inimitability are two medieval books by the grammarian Al Jurjani (d. 1078 CE), Dala’il al-i'jaz ('the Arguments of Inimitability') and Asraral-balagha ('the Secrets of Eloquence'). Al Jurjani argued that the inimitability of the Qur'an is a linguistic phenomenon and proposed that the Qur'an has a degree of excellence unachievable by human beings. Al Jurjani believed that Qur'an's eloquence must be a certain special quality in the manner of its stylistic arrangement and composition or a certain special way of joining words. He studied the Qur'an with literary proofs and examined the various literary features and how they were utilized. He rejected the idea that the words (alfaz) and meaning (ma'ani) of a literary work can be separated. In his view the meaning was what determined the quality of the style and that it would be