One of the crucial problems which meets an Arabic writer is the writing of a dialogue. The origin of this difficulty results from the linguistic ambivalence between written classic language and dialectal vernacular language. How make speak a character in a novel which is written in classic language? About what oral would it be? Naguib Mahfouz opts for the writing in classic Arabic where everybody speaks about " the same language (tongue) ". And what if we translate these dialogues into French? According to Salama-Carr, the translations of the dialogues of Mahfouz in French make a sort of " exotication-explanation ", thus, " a relief of oral appears by playing on the registers of language (tongue) " where from "warping tendencies " owed aside cumulative. The observation of the translation of the dialogues in the trilogy imposes the question of creativity: would it be a question of a deformation, a transformation (conversion) or a simple imitation? In this part of creativity which a translation can envisage, there would be more an idea of a creation of another dialogue in a sense where a new reading is offered to the French-speaking addressee as well as a world of departure more or less recreated by the recipients' vision. The " translation operation " engender then a creative movement in several senses. Keywords: dialogue, diglossia, translation, creativity, warping tendencies, oralisation, horizon of wait (expectation), orientalism.