Müslüman toplumun “kutsal” kitaplarına duydukları şekle ve muhtevaya yönelik derin saygı, sadece dinsel ritüellerin pratiği esnasında değil gündelik hayata yansıyan çok çeşitli hürmet biçimleriyle de onları diğer din ve medeniyet mensuplarından ciddi ölçüde ayırmaktadır. Bununla birlikte bu medeniyet mensupları, rol model (üsve-i hasene) olarak gördükleri peygamberlerinin şakaya hoşgörüyle bakan kişiliğinden de cesaret alarak çağlar boyunca dini içerikli mizah üretme konusunda kendilerini özgür hissetmişlerdir. Öyle anlaşılıyor ki bu özgürlük, onları, gündelik yaşamlarına yoğun müdahalesi sebebiyle metnine yakından aşina oldukları kutsal kitapları üzerinden de nükte üretmeye cesaretlendirmiş gözükmektedir. Zira hicri birinci yüzyıldan başlamak üzere nicelik ve nitelik bakımından gittikçe artan bir oranda Kur’ân-ı Kerîm metnine dayalı mizah örneklerinin sergilendiği yüzlerce edebi ve mizahi koleksiyon ortaya konulmuştur. Kur’ân eksenli mizah alanında belli bazı isimlerin sivrildiği, sayısal bakımdan daha fazla anekdotun başkahramanı oldukları gözlemlenmektedir. Hiç şüphesiz bu listenin en tepesinde Ebü’l-‘Aynâ yer almaktadır. Ona ait rivâyetlerin sayıca çokluğu bir saray nedimi olarak saray çevresiyle kurduğu diyalogların büyük bir kısmının rivâyete sıkça konu edilmesinden kaynaklanmış olabilir. Bu makalede, klasik Arap literatüründeki Ebü’l-Aynâ’ya ait nüktelerin, Kur’ân-ı Kerîm âyetlerine dayalı olan sınıfı tespit edilecek, bu anekdotlardaki mizah biçim ve teknikleri gösterilerek, Ebü’l-Aynâ’nın şahsında, Müslümanların mizah gibi seküler bir ihtiyacı karşılamak için kutsal olanı nasıl ustaca manipüle ettikleri ortaya konulmaya çalışılacaktır.

The deep respect, which the Muslim community has for the form and content of their “holy” scriptures, seriously distinguishes them from other members of religion and civilization through their reverence not only during the practice of religious rituals but also in various forms reflected in everyday life. At the same time, the members of this civilization have always felt free to produce religious content with humour down the ages by getting encouraged from the prophets who consider the jokes indulgently and whom they regarded as role models. It is understood that, this freedom also seems to encourage them to make witty remarks over the holy scripture of which the text they are familiar with because of its intensive intervention in their daily lives. In as much as, since the first century of the hijri era, hundreds of literary and humorous collections exhibiting humorous examples based on the text of Qu’ran have been introduced with an increasing quantity and quality. This literary art, which aims to benefit from the associative power of the Holy Scripture and which may more or less be defined as “including a verse of the Qur'anic text completely or partly in a contemporary dialogue context or in the form of a poetry or prose” has been stated using a number of terms including similar meanings such as “husnu't-tevessul”, “et-temessul bi'l- Qu’ran “, “al-istishhad bi'l-Quran”, “quotation” and “restitution”. In fact, starting from the texts of the Prophet's khutbah and letters, since the earliest periods of Islamic history, the rashidun caliphs, companions of prophet Muhammad, the Muslim ruling class (emirates, sultans, governors), ulema class and especially the early representatives of ascetism have been often used this technique in order to strengthen their expressions. In this sense, today we have a rich source of narrative material indicating that the verses of the Qu’ran were interpreted in different ways, ignoring the revelation requirements and related contexts. It is observed that certain names come into prominence in the Qur'an-driven humour and that they are the main protagonists of more anecdotes in numerical terms. Without a doubt, Abu'l-Ayna is at the top of this list. The fact that the number of his narrations is high and that these narrations are preserved in such a way to be included more in later works may be because of the fact that he has often mentioned a large part of the dialogues, which he had established with people of palace, into his narrations. A considerable part of the anecdote collection related to Abu'l-Aynâ consists of the wits referenced to the verses of Qur'an. As far as we can determine for now, this number is around 30 and there is no Quranic wit referred to a single person in this number on the date of nevadir. The influence of Qur'anic culture is clearly visible in most of the sarcastic responses of repartee Abu'l-Aynâ including sarcasm, irony, and despisement style and in some of his portrayals of literary value. His success of using the idioms and expressions from Qur'an as a means of description, when satirizing his opponents and people, whom he did not like, undoubtedly brings the level of viciousness and acerbity of his satire to the top. Abu'l-Aynâ, a good social observer in spite of his paradoxical blindness, has often been protected by palace people, despite the viciousness of his wits. This very special form and character of this humour, which he has introduced, has provided him with sympathy that causes him to be tolerated even in the criticism of senior officials such as sultan, emirate, governor and tribal leader. One of the cases, where Abu'l-Aynâ instrumentalized the verses of the Qur'an, is the use of some cliché phrases as a “tag”, when defining persons in a positively or negatively. Again in spontaneously developing dialogues, Abu al-'Ayna generally describes certain people upon the questions directed to him as patterned expressions, which are specific to the Qur'an, and this extraordinary form of “literary despisement”, which his is the expert of, provides a humour. Classical Arabic nevadir includes numerous narrations, which have been fictionalized by many litterateurs, poets and humourist persons talented in humour and are wholly or partly imaginative, as well as numerous anecdotes and historical narrations that have historical reality. In this context, the issue of authenticity of story-like narrations is a serious issue for the modern researchers and anecdote editors. If whether a certain humorous narration has historical roots or not is based on a historical basis, the question of whether or not the characters or the flow of the narration or humorous emphasis evolve as the time goes keeps straining the mines of those interested in this field. I should state that this problem, which has not yet been solved yet, when mentioning the examples of the art of making humour with reference to the verses of the Qur'an comes up more because of their difficulties in practicing the art. However, it is considered that the problem of authenticity is at the minimum level in the narrations of the famous humourists, who have lived in the history and many narrations from their mouths have been included in the classical sources, like Abu'l-Aynâ, Câhiz and Cemmâz. As a matter of fact, the biographies and characteristic features of these individuals are the evidence for the fact that they are capable of producing such a humorous skill themselves. Especially, most of the humorous anecdotes of Abu'l-Aynâ, which he has produced in the field of wit with Qur'an, are the anecdotes in which he has used his most obvious characteristic, repartee. It is quite natural for a person, who has this kind of character is a Qur'an hafiz, to produce witty remarks spontaneously by using the Qur'anic verses. The fact that there are some changes arising due to minor modifications made in different narrations of an anecdote and sometimes in the names of the characters and f