Contemporary Orientalists have put forth various views on the stylistic miraculousness of the Qur’ān. Some have believed it, others have rejected it, and still others have adopted a doubtful approach to this issue. Claude Gilliot, a French Orientalist, is among the second group. He has proposed opinions to reject the stylistic miraculousness of the Qur’ān. This study attempts to evaluate his views using a descriptive-analytical approach. Gilliot’s views in this regard are in three directions. First, the special style of the Qur’ān is merely a theological proposal that Muslim thinkers have extracted from the qur’ānic verses that express its language as “clear.” Second, Muslim thinkers set old Arabic poetry at a station that cannot be compared to the Qur’ān and at the same time used it to clarify, justify, and prove their assumed supremacy of the qur’ānic language. Third, unlike other Scriptures, the Qur’ān suffers from narrative disruption and repetition in the expression of its stories. Criticisms of his views are as follows. First, the fact that the Qur’ān is clear derives from the qur’ānic verses themselves. Second, the reliance of Muslim thinkers on Arabic poetry cannot be taken to propose that the miraculousness of the Qur’ān is fabricated. The Qur’ān definitely has stylistic supremacy over Arabic poetry. Third, the narrative disruption and repetition in the expression of qur’ānic stories are rooted in the structural differences of the Qur’ān with other Scriptures. These differences regard the manner of its revelation, writing, and sectioning. ...