بعكس فرنسا فإنّ "بلزاك وفلوبر وجونكور وزولا ودوديه" كانوا ويضعون الروايات القصصية المأخوذة عن صور الحياة ، المبنية على الملاحظات الدقيقة ، والتحليلات الصادقة ، والنظريات العلمية ، وبينما كان مرسحهم لا يظهر إلا الروايات الخيالية الضئيلة الجوفاء

bi-ʕaks faransā fa-ʔinna "Balzāk wa-Flūbīr wa-Ǧūnkūr wa-Zūlā wa-Dūdīh" kānū yaḍiʕūna al-riwāyāt al-qiṣaṣiyyaẗ al-maʔḫūḏaẗ ʕan ṣuwar al-ḥayāẗ, al-mabnīyaẗ ʕalà ’l-mulāḥaẓāt al-daqīqẗ, wa’l-taḥlīlāt al-ṣādiqaẗ, wa’l-naẓariyyāt al-ʕilmiyyaẗ, wa-baynamā kāna marsaḥu-hum lā yuẓhiru ʔillā al-riwāyāt al-ḫayāliyyaẗ al-ḍaʔīlaẗ al-ǧawfāʔ

in contrast to [the situation] in France where Balzac, Flaubert, Zola and Daudet have created narrative prose after pictures taken from life,¹ built/based on minute observation, faithful analysis and scientific theory,² whereas only hollow, weak, and [totally] fantastic plots³ had been staged in their [sc. the Frenchmen’s] theatres.

AR: Faransā, Balzāk (Balzac), Flūbīr (Flaubert), Ǧūnkūr (Goncourt), Zūlā (Zola), Dūdīh (Daudet), waḍaʕa (waḍʕ), riwāyaẗ, (maʔḫūḏ ʕan), ṣuwar al-ḥayāẗ, (mabniyy ʕalà ’l-), mulāḥaẓaẗ, daqīq (diqqaẗ), taḥlīl, ṣādiq (ṣidq), naẓariyyaẗ, ʕilm/ʕilmī/ʕilmiyyaẗ, marsaḥ, riwāyaẗ, ḫayālī (ḫayāl), ḍaʔīl (ḍuʔūlaẗ), ʔaǧwaf
EN: France, Balzac, Flaubert, Zola, Daudet, narrative prose, pictures taken from life, observation, analysis, scientific theory, fantastic