Stylistic nuance Source text Target text Discussion

Lexical Choices - But the fact is, you got to give ‫ك أن تعطيهم‬##‫و للحقيقة فإن علي‬ the term "ass" is used metaphorically to
’em something. Either your ،‫ك‬##‫ أو أرض‬،‫ك‬#‫واء مال‬##‫ س‬،‫شيئًا‬ refer to submission, compliance, or
money, your land, your woman .‫أو امرأتك أو طيزك‬ exploitation. In this context, it suggests
or your ass. that individuals, particularly those who
have faced historical oppression or
discrimination, may feel compelled to
give up something valuable or essential to
survive or appease those in power.
However, the translation doesn’t
capture the metaphorical nature of the
phrase "ass". The idea that individuals
may be compelled to sacrifice
something significant in the face of
power dynamics or societal pressures
is not represented by the lexis “‫”طيزك‬.
Instead, the translator could use
another lexis such as “‫”شرفك‬

Sentence He took it. He took it while I ‫ا‬##‫قتله‬.‫ أخذها أثناء نومي‬. ‫أخذها‬ The translated Arabic maintains a similar
structure was sleeping. Kilt it out there ‫ل‬##‫ و كان يود قت‬.‫هناك في الغابة‬ sentence structure to the original English
in the woods. Kill this one ‫هذا ايضا لو استطاع‬ excerpt. Both versions consist of short,
concise sentences, which contributes to a
too, if he can. straightforward and impactful narrative
style. The Arabic translation effectively
captures the brevity and directness found
in the English source text. The use of
parallel structures in both sentences, such
as "‫( "أخذها‬He took it) and "‫اك في‬##‫ا هن‬##‫قتله‬
‫( "الغابة‬killed it out there in the woods),
mirrors the syntactic patterns present in
the English sentences. Overall, the
translated Arabic maintains the essence of
the original sentence structure while
conveying the intended meaning.
Rhythm and I am so happy. I got love, I got ‫ و‬،‫دي الحب‬##‫ ل‬.‫دًا‬##‫عيدة ج‬##‫ا س‬##‫ أن‬the Arabic translated text maintains
Flow work, I got money, friends and ،‫دقاء‬##‫ و االص‬، ‫ال‬##‫ والم‬، ‫ العمل‬parallelism similar to the original
time .‫و الوقت‬
English sentence. In both versions,
there is a parallel structure in listing
the positive aspects of Celie's life: love,
work, money, friends, and time. The
repeated use of the conjunction "‫"و‬
(and) in Arabic serves to connect
these elements, creating a balanced
and parallel structure that mirrors the
original English sentence.

Cultural It nearly kill me to think she ‫تزوج‬##‫د ت‬##‫ا ق‬##‫ير بأنه‬##‫يقتلني التفك‬ During the time period depicted in the
Nuances might marry somebody like ‫يد________أو‬##‫رجال مثل الس‬ novel, particularly in the early to mid-
Mr. _____ or wind up ‫اف في مطبخ‬###‫ا المط‬###‫ينتهي به‬ 20th century, many African American
‫سيدة بيضاء‬ women were relegated to domestic work,
in some white lady kitchen. often as maids or cooks in the homes of
white families. The reference to being in a
"white lady's kitchen" alludes to the racial
and economic inequalities of the era,
where African American women often
had few choices for employment and were
confined to certain roles within the homes
of white families.

The Arabic translation maintains the same

cultural reference as the original English
text. The mention of "in some white lady
kitchen" is accurately translated to "‫في‬
‫"مطبخ سيدة بيضاء‬
Tone and You better not never tell ‫دا‬##‫ احرصي على أال تخبري ألح‬The tone is menacing and coercive. The
Register nobody but God. It’d kill your ‫ك على‬#‫ي ذل‬#‫ فقد يقض‬،‫ سوى هللا‬use of "You better not never" conveys a
mammy. .‫ أمك‬sense of command and the threat of
consequences. The statement "It’d kill
your mammy" intensifies the emotional
weight, suggesting severe harm or distress
that would befall Celie's mother if the
secret were revealed.
The Arabic translation adopts an advisory
tone. The phrase "‫احرصي على أال تخبري ألحدا‬
‫( "سوى هللا‬Be careful not to tell anyone but
God) has a more advice-oriented tone,
lacking the explicit threat found in the
English version.
The register is colloquial and informal.
The language used by Pa is not formal or
refined; instead, it reflects a more every
day, spoken form.
The Arabic translation employs
 standard Arabic, avoiding colloquial
or informal expressions. The use of
formal language aligns with standard
conventions in Arabic writing.

Figurative Squeak not saying nothing. ‫ التص))قت‬.‫يئًا‬##‫كويك ش‬##‫ل س‬##‫لم تق‬ -Got her chin glued to her plate" This is a
Language She got her chin glued to her ‫دوري لم‬##‫ و أنا ب‬.‫ذقنها بصحنها‬ simile that compares Squeak's chin to
plate. I’m not saying nothing ‫ كنت بانتظ))ار‬.‫ًا‬# ‫يئًا أيض‬##‫ل ش‬##‫أق‬ glue. It suggests that Squeak is so silent
‫تطاير الريش‬ and withdrawn that she is completely
either. I’m waiting for the
immobilized.
feathers to fly.
The English simile "got her chin glued to
her plate" is translated as " ‫التصقت ذقنها‬
‫( "بصحنها‬literally "her chin stuck to her
plate"). This is a literal translation that
accurately conveys the meaning of the
simile. The Arabic phrase "‫"التصقت‬
(literally "stuck") is a strong verb that
suggests that Squeak's chin is completely
immobilized.

-"Waiting for the feathers to fly" This is

a metaphor that suggests that Celie is
expecting something dramatic to
happen. The feathers could represent a
variety of things, such as a fight, a
confrontation, or even a change in her
own life.

The Arabic translation, " ‫كنت بانتظار تطاير‬

‫الريش‬," doesn’t preserve the metaphor. It
doesn’t capture the metaphor's intended
meaning and cultural resonance in the
target language.
Figurative Young womens no good these ‫ذه‬##‫الحات ه‬##‫ات ص‬##‫د الفتي‬##‫ لم تع‬The phrase "legs open to every Tom,
Language days, he say. Got they legs open ‫ يفتحن سيقاهن لك))ل ت))وم‬.‫ االيام‬Dick, and Harry" is a metaphorical
to every Tom, Dick and Harry. .‫ و ديك و هاري‬expression. It implies promiscuity or
sexual promiscuousness, suggesting that
young women are engaging in casual or
indiscriminate sexual relationships.
The use of "Tom, Dick, and Harry" is
an idiom referring to ordinary or random
men. The choice of these generic names
reinforces the idea of indiscriminate
involvement with various men. The
statement carries a strong negative
connotation, portraying Albert's
judgmental and critical attitude towards
young women. It reflects societal
expectations and double standards
regarding women's behavior.

However, the use of ‫ لكل توم و ديك” و هاري‬in

Arabic doesn’t convey the intended
meaning to the English idiom "every
Tom, Dick, and Harry. The Arabic
translation doesn’t reflect the patriarchal
attitudes prevalent in the society and time
depicted in the novel. Instead, the
translator could use the idiomatic
expression “‫”كل من هب و دب‬. It can covey
the intended meaning.
Character 1-Sofia: She say, What I need ‫ماح)))))اجتي الى ال)))))زواج من‬- A fierce and uncompromising woman,
voices to marry Harpo for? He still ‫ه)))))))))اربو؟ الي)))))))))زال يعيش‬ Sofia represents resistance against
living here with you. What food ‫وانت من تشتري مأكل)ه و‬.‫معك‬ oppression and the fight for equality. She
and clothes he git, you buy. .‫مشربه‬ refuses to be silenced or subdued, even in
the face of violence and injustice.
- I loves Harpo, she say. God Sophia's experiences underscore the
knows I do. But I’ll kill him ‫ هللا يعلم ان))))ني‬.‫أحب ه))))اربو‬- challenges black women face in asserting
dead before I let him beat me. ‫ لكن))ني س))أقتله قب))ل أن))ا‬.‫ أحب))ه‬their autonomy and demanding respect.
.‫أسمح له بضربي‬
-You ought to bash Mr. _____ Sofia's distinct linguistic is a crucial
head open, she say. Think bout ‫ علي))))))ك ض))))))رب‬:‫ق))))))الت‬-
element in portraying her character. Her
heaven later. ‫الس)))))يد______ح)))))تى يفتح‬
directness, use of dialect, strength, and
.‫ فكري بالفردوس الحقا‬.‫رأسه‬
occasional humor contribute to the
-Sofia say, Hell no. authenticity of her voice and the overall
She say, What you say? .‫ ال اللعنة‬:‫أجابتها صوفيا‬-
narrative. The Arabic translation can
Sofia say, Hell no. ‫ ماذا تقولين؟‬:‫قالت‬
preserve this distinct linguistic style.
.‫ ال اللعنة‬:‫قالت صوفيا‬
Character 2-Celie: Celie's linguistic style in evolves
voices 1- DEAR GOD, ،‫ عزيزي هللا‬throughout the novel, reflecting her
I am fourteen years old. ‫ انا في الرابعة عشر من عمري‬personal growth, changing circumstances,
and the development of her self-
2- But I don’t never git used to expression.
it. My mama she fuss at me an ‫أمي‬.‫ لكننى لن أعت)اد علي)ه أب)دا‬1-The novel is presented in the form of
look at me. .‫ ترمقني متأففة‬letters written by Celie to God. This
epistolary style provides a direct and
3- You a lowdown dog is ‫ انت كلب منح))))))))))ط ه))))))))))ذا‬intimate insight into Celie's thoughts and
what’s wrong, I say. It’s time ‫ح)))ان وقت هجران)))ك‬.‫ ماس)))تجد‬experiences.
.‫ وأن أخطو نحو ملكوت البش))ر‬2- Celie's letters often feature
to leave you and enter into ‫ و جثتك أحتاج لتك))ون ممس))حة‬unconventional spelling and grammar,
the Creation. And your dead .‫ العتبة‬reflecting her limited formal education.
body just the welcome mat I 3- Celie's language is often simple and
need. direct. She doesn't use elaborate
vocabulary or complex sentence
4-"Until you do right by me, structures.
everything you think about is ‫ كل ماتلمسه ستفسخ و يت))داعى‬4- Celie's tone evolves throughout the
going to crumble" .‫ مالم تنصفني‬novel. In the early letters, her tone is
submissive and resigned. As she gains
independence and confidence, her tone
becomes more assertive and self-assured.
5-What good it do? I don’t ‫ أبقى حيث يطلب‬،‫ ان))ا ال اك))افح‬5- Celie often uses symbolic language to
fight, I stay where I’m told. ‫ لكن))ني على قي))د‬.‫ م))ني البق))اء‬express her emotions.
But I’m alive. .‫ الحياة‬6- As Celie undergoes personal growth
and empowerment, her linguistic style
transforms. Her later letters demonstrate a
more confident and empowered Celie,
capable of expressing her desires,
standing up for herself, and embracing her
identity.

The Arabic translation preserves the form

 of letters, and somehow the tone of Celie
evolving though the novel. However,
unconventional spelling and grammar,
reflecting Celie’s limited formal
education isn’t preserved. The translator
throughout the novel employs standard
Arabic that results in a loss of Celie’s
limited formal education.

Character Nettie: Nettie's letters are written in a more

1-The Olinka do not believe girls ‫ال ي)))))ؤمن س)))))كان اولينك)))))ا‬- formal and educated style. Nettie's letters
voice
should be educated. When I ‫و‬.‫بض))))))رورة تعليم الفتي))))))ات‬ are more reflective and contain more
asked a mother why she thought ‫عن))دما س))ألت إح))دى األمه))ات‬ information about the world outside of
this, she said: A girl is nothing to ،‫لماذا تعتقد ذلك‬ Celie's immediate experience. They are
herself, only to her husband can ،‫ الفت)))اه الش)))ئ ب)))ذاتها‬:‫ق)))الت‬ also more focused on broader social
she become something. ‫وحده زوجها من يصيرها شيئًا‬ issues, such as imperialism and racism.
.‫ذا بال‬ As the Arabic translator used the standard
Arabic, so this style is appropriate with
2-"You've got to fight and get Nettie Style of writing.
away from Albert. He ain't no
good." ‫عليك أن تسعي جاه))دة لله))رب‬
‫ ليس شخصًا صالحًا‬.‫من البرت‬

Stylistic 1-repetition
Devices - Mr. _____ start to sputter.
ButButButButBut.
- He begin to sputter, sputter,
just like his daddy

2- parallelism
-I got love, I got work, I got
money
3- Onomatopoeia

-Then she really boo-hoo

4- Hyperbole
-all us together gon whup your
ass.