Until the nineteenth century, Kabyle literature was primarily oral, passed down through word of mouth and limited to various genres such as poetry, proverbs, riddles, tales, myths, and legends. The nineteenth century marked the beginning of the transition to writing in the Kabyle language through the transcription of oral literature. However, the true departure from orality occurred in the twentieth century with the emergence of an intellectual movement within the Kabyle community that started to write in Kabyle to develop it as a written language. These writers introduced new universal literary genres such as novels, short stories, and theater.

The transition to writing in a language long confined to orality was not without its challenges. Writers often drew upon the rich oral expressions of the Kabyle language to overcome the difficulties of expressing new ideas, which became a hallmark of the writing of that era. Mohia Abdellah (1950-2004), faced the particular challenge of promoting his language by translating and adapting universal theater texts. Nevertheless, his translations and adaptations found great success by leveraging the Kabyle language's rich lexicon, especially its proverbs, which contributed to elevating the status of the Kabyle language as a written medium. This article examines some of these Kabyle proverbs reinvested by the dramatist Mohia Abdellah in his play titled “Menttif akka wala seddaw uẓekka” (literally, “better this than being in the grave”), an adaptation of the Russian playwright Nicolai Erdman's work “The Suicide.” Through an intertextual approach, the article highlights the significance of proverbial expressions in Kabyle writing due to their exceptional ability to convey complex ideas from another world. To achieve this, the article initially defines the traditional functions of Kabyle proverbs and subsequently compares them with their counterparts in the source text to better appreciate Mohia's efforts in translating and adapting foreign texts.

直到十九世纪，卡比尔文学主要是口头的，通过口口相传，仅限于诗歌、谚语、谜语、故事、神话和传说等各种体裁。十九世纪标志着通过口头文学转录向卡比尔语言书写过渡的开始。然而，真正与口头语言的背离发生在二十世纪，当时卡比尔社区内出现了一场知识分子运动，开始用卡比尔写作，将其发展为一种书面语言。这些作家引入了新的普遍文学流派，如长篇小说、短篇小说和戏剧。

用长期仅限于口头的语言向书写的转变并非没有挑战。作家经常利用卡比尔语言丰富的口头表达来克服表达新思想的困难，这成为那个时代写作的标志。莫希亚·阿卜杜拉（Mohia Abdellah，1950-2004）面临着通过翻译和改编通用戏剧文本来推广他的语言的特殊挑战。尽管如此，他的翻译和改编仍然取得了巨大成功，利用了卡比尔语丰富的词汇，特别是谚语，这有助于提升卡比尔语作为书面媒介的地位。本文探讨了剧作家莫希亚·阿卜杜拉 (Mohia Abdellah) 在他的戏剧《Menttif akka wala seddaw uẓekka》（字面意思是“这比在坟墓里更好”）中重新运用的一些卡拜尔谚语，该剧改编自俄罗斯剧作家尼古拉·埃尔德曼的作品《自杀。” 通过互文的方法，本文强调了卡比尔写作中谚语表达的重要性，因为它们具有传达来自另一个世界的复杂思想的特殊能力。为了实现这一目标，本文首先定义了卡比尔谚语的传统功能，随后将它们与源文本中的对应项进行比较，以更好地欣赏莫希亚在翻译和改编外文文本方面所做的努力。