~ language and poetry ~
- 4 -

Giuseppe Berneri
MEO PATACCA


index
CANTO I
CANTO II
CANTO III
CANTO IV
CANTO V
CANTO VI
CANTO VII
CANTO VIII
CANTO IX
CANTO X
CANTO XI
CANTO XII


CANTO III

octaves: 3-4, 8, 11-22, 25-29, 39, 43, 46, 48, 61-62, 68-69, 71, 74-77, 82-83, 85-86


It is getting dark, but the thoughtful Meo feels like taking a walk.



3 - 4

Perche di bruno mai senza el fanale
Non ce marcia suisci, e senza el ferro,
Per esser questo el pi gran capitale,
Che pozza hav chi vu tir de sgherro,
Mette la cinquadea sotto ar bracciale,
E la lanterna alluma, et io non erro,
In dirvi che di cera non f sprego,
Se spesso addropa i moccoli di sego.

Se n'esce a pigli fresco passo lento;
Di tanto in tanto el camin sospenne,
Par che l'ardore del suo ardir sia spento
E timiglioso lui s stesso renne.
L'amor di Nuccia, ora lo f scontento,
Ora di bilia contro lei s'accenne;
Mentr' il penzier di qu e di l sbattuto,
Pi si mostra confuso e irrisoluto.

8

Cos sopra pensier, con passo tale
Qual f una donna gravida pedona,
Arriva al foro Meo, detto Agonale,
Che ciamano i plebei piazza Navona.
Qu la state, c' un fresco badiale,
Ce se ricrea de notte la perzona:
È cos bella che m so' gi accorto,
Che se non la descrivo, io gle f torto.


3 - 4

Since when it is dark he never goes walking
Without a lantern, and without a sword,
Being this the most important thing
That whoever wishes to be a brave should carry,
He puts the blade under his arm,
Lights the lantern, and I'm not wrong
In telling you that he spares wax
By using candles made of tallow.

He goes out strolling, for a breathe of fresh air;
From time to time he stops,
It seems as if his pride had been subdued
Turning him more timid.
He is now upset about Nuccia's love,
His anger towards her begins to rise;
While his mind is torn by uncertainty
He is confused and doubtful.

8

So lost in his thoughts, walking
At the pace of a pregnant woman,
Meo reaches the open place called Agonale,
Which the common people call piazza Navona.
Here in summer there's a pleasant fresh air,
People enjoy it at nighttime:
It's such a beautiful square that I'm aware
Of doing a wrong not to describe it.



11 - 22

È longa giusto passi quattrocento,
Di quelli ch'uno f, quanno scarpina
Com' il solito suo; m larga cento,
E solo ce ne manca una dozzina.
Gle fanno in pi d'un loco adornamento
Fabriche di bellezza soprafina;
Oltre queste, ce stanno intorno spase,
(Tutte un paro per) botteghe, e case.

C' una fontana in cima, e un'altra in fonno,
Che dir la verit senza sfavate,
Sin da coloro, che han girato el Monno
Vengono con raggion magnificate;
Son le vasche maiuscole; m tonno
Non hanno el giro, perche son'ovate
E sopra l'orlo poi, di tratto, in tratto,
Ce s'alluma un cantone assai ben fatto.

Tutte due somiglianti hanno i vasconi,
Di marmoro; m c' 'sta differenza:
Quella de sotto h quattro Mascheroni,
Che fan s l'orlo gran compariscenza;
Altri e tanti ridicoli Tritoni
Ci son pi arreto, con tal avvertenza
Messi, che tutti sparpagliati stanno,
E un concerto bellissimo pur fanno.

In mezzo della vasca, ritta, ritta
Ce st una statua sopra un travertino;
Par, che figuri una perzona guitta,
Perche giusto el su' grugno di burrino,
Verso el fianco sinistro la man dritta
Con la manca, la coda ad un delfino
Ti con gran forza, e par, ch'habbia el tavano
Paura, che gli scivoli di mano.

Poi tr le gamme di quest'huom di sasso,
Dereto attorcinatosi el gran pesce,
Cava fora la testa, e con fragasso
Un capo d'acqua dalla bocca gl'esce;
Con quella poi, che for dell'orlo, abbasso
Buttano i mascheroni, non si mesce,
Ed ecco, qual de 'sta fontana l'opra;
M liscia, liscia poi quella di sopra.

E pur son tutte due scialose, e belle,
M poi, manco pe' sogno, hanno che fne,
Con la fontana, che pe' dritto, quelle
In mezzo della piazza viene stne;
Le f par fontane ciumachelle
Chi quest'altra le vu rassomigline,
(Bench chi de scoltura se rintenne,
Le metta in tr le cose pi stupenne).

H la gran vasca un giro, ch' perfetto,
De fora, attorno, poi mattoni in costa
Formano una platea larga un pochetto
Con tantin de pendiva fatta posta;
Se mai l'acqua rescisse dal su' letto,
Scola subbito via, gi pe' 'sta costa;
Basse colonne stanno attorno, e c'
Tra l'una, e l'altra, un ferro da sed.

Di pietre appiccicate una gran massa
Forma quasi uno scoglio, et aperture,
Ch'una di qu, l'altra di l, trapassa
Ci son de sotto, e in alto pi sfissure.
S certi sassi, in dove l'acqua passa
Nascettero insinenta le verdure;
L'occhio se gabba, e lo faria el penziero,
M questo s, che non scoglio vero.

Par che voglia slam 'sta gran montagna,
Che sia stupor, che gi non si sfragassi,
Che ce se veda pi d'una magagna,
E ch'assai crepature habbiano i sassi.
Se chalche forastier pappalasagna
Capita qu', ferma intontto i passi,
E tr s dice: Pah! Che bella cosa!
M troppo de casc pericolosa .

Cos i scioti, ch'intennere non sanno
L'astuzie de 'sta bella architettura
Guardan lo scoglio, e maraviglie fanno
E quasi che tracolli, hanno paura.
Tanto ciarvello, de cap non hanno
Che spesso l'arte scontraf natura,
Come succede questo gran disegno;
Pare il caso architetto, e f l'ingegno.

Ce so' poi sopra, quattro cantonate,
Et altr'e tante statue, una pe' parte;
C stanno iofamente qu assettate
Se i posti da sed gli fece l'arte.
Questi so' fiumi con le fogge usate,
Assai famosi in tell'antiche carte:
Nilo, Gange, Danubio, e c' di pi
Detto, rio de la Platta, il gran Peg.

Estatico, un di loro si strabilia,
E un'altro iscontro lui pe' maraviglia,
Reggenno con la man l'arme Panfilia,
Arme d'eccellentissima famiglia.
A questa gi la Musa mia s'umilia,
E lei puro inarcanno v le ciglia,
Et raggion de vener gle tocca
La gran Colomba, c'h l'olivo in bocca.

25 - 29

Bench sotto, 'sto scoglio sia scavato,
E che non para sosten bastante
Un peso, ancor che fusse moderato,
S'h cera, d'anticaglia gi cascante;
Pur ci st sopra un obelisco alzato
Che ciama guglia el popolo ignorante,
Alto, grosso, e st saldo, e ci vu stne,
Ch' ogn'altra cosa penza, ch' cascne.

Questo quel, ch'i due fiumi, come tonti
Guardano, in s voltati, e stanno in atto,
Con mani alzate, et increspate fronti
Di ch vede stupori, e resta astratto.
Da i quattro seditori escono fonti,
E ancor dalle sfissure, et in un tratto,
Mentre, ch'in larghe striscie in furia casca
L'acqua, di qu e di l, s'impe la vasca.

Come f in tel pantano un'anatrozza,
Cos appunto un Delfin qu noto sguazza,
E un'altro pesce, e ogn'un di loro ingozza
L'acqua, che spasa gi nella gran tazza;
Questa resce de sotto, e poi l'impozza
La ciavica, ch'in mezzo della piazza.
Un cavallo sguazz puro s'allampa,
Ch'alta denanzi ha l'una, e l'altra zampa.

Da cupa tana, ch' pur qu sculpita
Assetato Lion se n'esce in fora,
St in sopra i sassi, e regge l la vita,
Piega le spalle, e abbassa il collo ancora;
L'arida lingua dalle fauci uscita
Al pian dell'acqua non arriva, e allora
Si slonga quanto pu, non quanto deve,
Tocca, e non tocca, e lui beve, e non beve.

Un arboro di palme st appoggiato
Allo scoglio, e in tel tronco brozzoloso;
C' un coccodrillo poi, mezzo arrizzato,
E dereto un canton quasi nascoso;
Et ecco, che gi tutto v'ho mostrato,
Sol resta dirvi, che f autor famoso
Di quest'opera granne, (et io m'inchino
Alle sue grolie) il Cavalier Bernino.


11 - 22

It is exactly four hundred paces long,
Like the ones taken when normally walking,
But its one hundred [paces] in width,
Short of a dozen.
In more than one corner, it is adorned
By buildings of exquisite beauty.
Besides these, all around, regularly arranged,
Are a good number of shops and houses.

There's a fountain at one end and one at the other
Which, without exaggeration,
Are rightly praised
Even by people who have toured the world;
The basins are large, but their rim
Is not round, because their shape is oval,
And along the rim, every now and then,
You can see a beautifully carved corner.

Both of them have similar Basins
Made of marble, but there is a difference:
The one at the bottom has four grotesque Faces,
That show very nicely along the rim;
Further back, there is the same number
of funny Tritons, arranged in such a way
That although they are randomly set,
They still form a wonderful ensemble.

In the center of the basin, standing straight,
Is a statue resting on a travertine base;
It looks as if this was a cheap personage,
Because his face is that of a commoner,
By his left side, the right hand
And the left one firmly grasp
The tail of a dolphin, and the bloke
Seems to be in fear of loosing his grip.

And between the legs of this man of stone,
The big fish, twining itself from behind,
Sticks out its head and, making a great noise,
A gush of water spouts from its mouth;
It does not mix with the one that the faces
Pour out of the lower rim;
And this is how this fountain is made,
While the other one is completely bare.

However, both of them are rich and beautiful,
But they have really nothing in common
With the fountain that, facing them,
Stands in the center of the square.
The comparison with this one
Makes them look as tiny fountains,
Despite who is a knower of sculpture
Considers them among the most beautiful works.

Its basin has a perfect shape,
And in the outer part a layer of bricks
Forms a platform of a certain height,
With a slight inclination made on purpose:
Should the water overflow from its bed
It would be drained at once along this slope;
All around are small pillars, and
Between each of them is a railing where to sit.

A large quantity of stones placed on it
Almost form a rock, and a hole
Reaching from one side to the other
Runs below, and more gaps are above.
On some stones, where the water flows,
Even weeds have grown;
The eye is deceived, and also the mind would,
Yet it knows that this is not a real rock.

This great heap almost seems to collapse,
It is amazing that it does not crash down,
As more than a fault can be seen,
And the stones have multiple cracks.
Whenever an ingenuous visitor
Happens to come here, he stops in astonishment,
And thinks: Oh! What beautiful work!
But it's too much in danger of collapsing .

This is how the simpletons, who can't understand
The cleverness of this nice piece of architecture,
Look at the rock, and they are amazed,
And almost fear that it may crumble.
They do not have enough brains to understand
That often art deceives nature,
As this great project does:
It seems a random creation, while this is talent.

Furthermore, the same number of statues
Stand on four corners, one on each side;
They are beautifully sitting,
Since art gave them these seats.
These are rivers, well-known in old maps,
Portrayed in these attitudes:
the Nile, the Ganges, the Danube, and finally,
Known as Rio de la Plata, the Great Pegu.

One of them is amazed, in extasy,
And so is another, facing the former, astonished,
Holding with one hand the Pamphilj coat of arms,
The coat of arms of a most noble family;
My Muse lowers herself to the latter,
And she too raises her eyebrows,
Having to pay her due respect
To the great Dove that holds an olive twig.

25 - 29

Despite below this rock there is a hollow,
And it does not seem steady enough to hold
A weight, not even a light one,
And it already has the look of a ruin,
An obelisk rests above it, all the same,
Called the spire by poorly cultured commoners:
Tall, huge, it is steady, and willing to stand there,
Without the slightest intention of falling down.

This is what the two rivers turn towards,
As bewildered, and look up at, in an attitude
With their hands raised, and wrinkled brows
As someone who sees a wonder, and is stunned.
From the four sitting figures, water spouts,
And also from the cracks, and it fills the basin,
Pouring down very rapidly,
On either side, in large streams.

As a duckling in a swamp,
Here a Dolphin wallows in a similar way,
And another fish too, and each of them swallows
The water already shed into the great basin;
It flows below, and then it is piped away
By the drain in the middle of the square.
A horse can also be seen
Raising both its legs in front of it.

From a shady den carved here, as well,
A thirsty Lion comes out,
Standing on the stones, keeping its body still,
Flexing its shoulders and lowering more its neck.
Its dry tongue, coming out of its mouth,
Cannot reach the water level, and so
It stretches as much as it can, yet not enough,
It barely touches the water, it barely drinks.

A palm-tree leans against the rock,
With a rough trunk;
And there is a crocodile, half straightened,
And almost hidden in a corner.
And now, having described everything,
All is left to say is that the famous author
Of this great work, (and I bow
To his glory), is Cavalier Bernini.

While Meo is lost in his thoughts, he happens to hear a group of people nearby, who are talking about his project of organizing the campaign in a sceptical and rather ironic way. Meo resents these criticisms, replies back to them, and to their further sneering words, despite they are many, he grabs his sword and gets ready for a duel.



39

Dice un di loro: Ho inteso dir giust'oggi,
Che vnno ann 'sti sgherri romaneschi,
Bench guida non habbiano, n appoggi
A squintern l'esserciti turcheschi .
Andaranno el malanno, che l'alloggi! -
Rispose un altro - O s che stanno freschi!
Nelle sfavate hanno bravure assai,
Quel che dicono poi non fanno mai .

43

S i romaneschi giovani da farlo
Quel che dicono, et io pozzo saperlo,
Meglio assai di nisciun, per questo parlo,
Ch'hanno valor, s dirlo e mantenerlo.
L'occasione gli manca di mostrarlo,
M il modo mai non gli manc d'haverlo,
E chi dice di n da m si sfida:
Col ferro in man la lite si decida .

46

Si stacca allor da quegli un homo sodo
Con gravit appoggiato un bastoncello,
Tira da parte Meo, m con bel modo,
Gli dice poi: Sentite, signor Quello,
È grande il vostro spirito, vi lodo,
M in grazia compatiteli, fratello,
Che non hanno giudizio n creanza,
Meritariano calci nella panza.

48
Il vostr'onor non c', se mi credete,
Che vi sia servitor; questa gentaglia.
A pigliarcela assai ci rimettete
Di riputazion c 'sta marmaglia.
Vi far sodisfar come volete,
La prudenza alla collera prevaglia:
Fecero error di non parlare tono,
M voglio che vi chiedino perdono .


39

One of them says: Today I heard the news
That these Roman braves,
Despite having no advice nor help,
Want to go and defeat the Turkish armies .
They'll go straight to hell! -
Another one replied - They're in for it!
They are very clever in boasting their feats,
And then they never do what they claim .

43

The Romans are people who can do
What they claim, and I know well,
Better than anybody else, this is why I speak;
I can say, keeping my word, that they are valiant.
They may lack the occasion of showing it,
But they never failed in being courageous,
And who denies this, challenges me:
Let us decide the dispute by the sword .

46

A mature man then walks out of the party
Heavily leaning on a stick,
He pulls aside Meo in a polite way,
And tells him: Listen to me, Mr.Who-you-are,
Your spirit is great, I praise you,
But be enough gracious to pity them, brother,
As they have no brains nor manners,
They would deserve to be kicked in their bellies.

48
If you believe my words, your honour
Is not at stake; these people are rabble.
In taking offence at this mob
You may lose your reputation.
I'll let you be given satisfaction, as you please,
May prudence prevail upon rage:
They are guilty for not addressing you correctly,
But I want them to apologize to you .

Each of them pays an apology to Meo, who is satified, and walks back home.
Meanwhile, Calfurnia is still fuming for the mistreatment received, and thinks of taking revenge upon Meo. On the following day she goes to Nuccia's house.



61 - 62

Sin da quell'hora, ch'era Nuccia uscita
Dalla casa di Meo, si messe in testa,
(Per essere una vecchia assai scaltrita),
Nel vendicarzi aiuto haver da questa.
Gi teneva una trappola ammannita,
Ch'a semin garbugli era assai lesta,
Da farce entrane, (e vu provarci adesso),
E Nuccia e Meo Patacca un tempo stesso.

Si veste in prescia, perch'a lei mill'anni
Gle pare ogn'hora de ved tramata
L'infame tela dell'orditi inganni.
V di Nuccia alla casa, e qu arrivata,
Vede, che stenne s la loggia i panni,
Segno, ch'aveva fatta la bucata.
Gle dice da la strada: Siete sola?
Signora Nuccia, in grazia una parola .


61 - 62

Since the time Nuccia had left
Meo's house, her thought
(Being a very cunning old woman)
Had been of taking revenge by means of the girl.
She already had a plot,
Clever as she was in causing strife,
By which (she wanted to try on this occasion)
Both Nuccia and Meo would get caught in her trap.

She dresses up in a hurry,
Because she is so eager
To lay her treacherous snare.
She goes to Nuccia's house, and there
She sees her hanging clothes on the balcony,
Evidently, she had done the washing.
From the street she asks: Are you alone?
Miss Nuccia I'd like to have a word with you .



68 - 69

Sede la griscia e assai pietoso l'occhio
Rivolta in Nuccia, il capo scotolanno,
Batte la destra man sopra 'l ginocchio,
E par che stia come tr s, penzanno.
(M m costei far sent lo scrocchio,
Co' 'ste su' smorfie, Nuccia, dell'inganno).
Poi con cert'atti di gran meraviglia,
A dire incominz: Povera figlia!

E che vi giova l'esser faccenduta,
Spirito aver, bont, bellezza e grazia?
Se sete cos mal riconosciuta
Da chi di sbeffeggiarvi non si sazia.
E poi? chi vi maltratta? e chi rifiuta
Il vostro amor sincero? Un malagrazia,
Un, che finge d'amarvi pi non posso,
Poi con altri vi taglia i panni addosso.

71

Quel Meo Patacca, quel che jeri al tardi
Andaste ritrov (gran traditore!)
Quello, che par che languido vi guardi,
E che, spasimi poi per vostr'amore,
(Vatti a fid de st'homini busciardi,
Ch'altr'hanno in s la lingua, altro nel core),
In faccia lui vi f delle monine,
Peggio vi tratta poi delle sgualtrine .


68 - 69

The old woman sits, and turning towards Nuccia
A pitiful expression, shaking her head,
She taps her knee with her right hand,
Looking absorbed in her thoughts.
(Now she's on the point of striking,
Playing these tricks with Nuccia),
Then, pretending to be very surprised,
She starts saying: Poor dear!

What's the use of being so busy,
Of having wit, kindness, beauty and grace?
If you are so badly rewarded
By whom has never enough of teasing you.
And whom are you mistreated by? Who refuses
Your sincere love? An evil man,
Who pretends that he loves you more than ever,
And then with others tears you to pieces.

71

That Meo Patacca, the one who yesterday
You went to see at a late hour, (what a cheater!)
The one who apparently looks at you languidly,
And hungers for your love,
(Never trust these false men, whose words
Mean one thing, and their hearts another),
In front of you he wheedles you,
And then treats you worse than a trollop .

The old woman keeps telling Nuccia that Meo commented about her in the following terms:



74 - 77

Che ho da fa' con costei, ch'appunto jeri
Co' le su' smorfie e co' li su' piantusci
À infett me ven? Credo ne speri,
Che del su' amore, 'sto mi core abbrusci.
Piglia un grancio la gonza e i su' penzieri
Presto a lei riusciranno busci; 6
Non s, sciorna, non s se chi 'sto fusto,
Ch'in tel cuccalla ce se piglia gusto.

Altro ce vu che f la bocca stretta,
Rimen el capo e hav la parlantina!
A infinocchiamme n, non ci si metta,
Perche nostrisci della Cappellina.
Si spacci pur con altri giovanetta,
Ch'io gi s, che s'accosta alla trentina.
E quel, ch' peggio, ci vu fa' la bella,
E accorge non si vu ch' bruttarella .

Ah lingua, lingua fracida, ch'in pezzi
Ti caschi! - disse Nuccia - acci che tutta
Te la magnino i cani, e 'sti disprezzi
Havr da sopportane? Io vecchia? Io brutta?
Ah infame! À maltrattar cos t'avvezzi
Nuccia, che per tuo amor sempre s' strutta?
E chi dir che crudelt non sia?
Brutta me? Vecchia ad una para mia?

Spasseggia intanto in prescia. Hor coglie i panni,
Hor li ristenne, hor sul terren li getta,
Non s occult, non s sfog l'affanni,
Smania, gira, st in piedi, e poi s'assetta;
Che gli pozzan venir mille malanni
Tra capo, e collo, razza maladetta! -
Dice, - Perch? Cos mi fai? Perch?
À m? Donna attempata? Brutta a m?


74 - 77

What am I to do with her, whom yesterday
Came to annoy me with her simpers
And her whimpers? I think that she hopes
To make my heart burn of passion for her love.
She blunders, what a fool, and her thoughts
Will very soon prove fake to her;
This silly girl doesn't know what kind of man I am,
And cheating her is a pleasure to me.

To strike an attitude, shake her head
And be talkative is not enough.
She shouldn't try to catch me,
Because I'm way too cunning.
Let others believe she's a youngster,
I'm aware that she's almost thirty.
What's worse, she acts as if she were pretty,
Rejecting the fact that she's rather ugly .

Oh your tongue, may your rotten tongue
Fall down into pieces! - said Nuccia - so that
The dogs may eat it; am I to endure
This contempt? Am I old? Am I ugly? .
Oh villain! In such a way you mistreat
Nuccia, who always pined for your love?
Who can say this is not cruel?
Ugly? Old, a girl like me? .

Meanwhile, she walks in haste, collects the washing,
hangs it again, then throws it on the floor,
She can't hide, she can't give vent to her temper,
She moans, walks around, stands, then sits down:
May he be stricken by a thousand diseases,
Damn his descent! -
She says, - Why are you doing this to me? Why?
Am I an oldish woman? Am I ugly?

The old woman offers to help her by having another brave she knows take revenge and punish Meo.



82 - 83

Cos poi parla: Gnora Nuccia! oh via!
Quietativi, non giova il tapinarsi,
M partito miglior, credo che sia,
La collera sfogar col vendicarsi.
Trovar il modo, sar cura mia,
E si far per voi quanto pu farsi.
Ò ve lo f ammazzar, quando vi piaccia,
Ò con pi sfresci almen segnarlo in faccia .

Per m vorria tolto gli fusse il fiato -
Nuccia esclam - n pi vederlo mai,
M s'innanzi mi capita l'ingrato,
Voglio che venga ad incontr i su' guai.
Diverso adesso il cor da quel ch' stato,
E ricordarmi sol, che tanto amai
Un traditor, ch'il galant'homo spaccia,
Per rabbia mi daria de i pugni in faccia .

85 - 86

Io v'imprometto, e statene sicura,
Perche s, ch'a costui fuma il cervello,
Che per opera mia senza paura
Meo Patacca mo' mo' sfida duello.
In quattro colpi pe' la su' bravura
La spiccia, e di colui ne f macello,
Et un ripiego tal chiara vi mostra
À spese d'altri la vendetta vostra .

À rischio di morir dunque s'espone, -
Allora Nuccia sospirando disse, -
Lo sfortunato Meo per mia cagione?
E che saria, se lui per m perisse?
ver, che se lo merita, il barone,
M non vorria per questo, che morisse.
Ch'io l'amo ancor, bench cos mi tratti...
A m vecchia? m brutta? eh crepi e schiatti!


82 - 83

Then she says: Miss Nuccia! come on!
Calm down, it is useless to moan,
I think it would be better
To quell your rage by taking revenge.
To find a way will be my business,
And what has to be done for you will be done;
I can have him killed, if you like,
Or at least gashed in the face a few times .

I would like his breath to be taken away -
Nuccia cried out - and not to see him any longer,
But if the ungrateful happened to cross me again,
I would like him to meet with some trouble.
Now my heart is no longer what it used to be,
And only in thinking that I loved so much
A cheater, who passes himself off as a gentleman,
I would punch myself in a rage .

85 - 86

I promise this to you, you can be sure about it,
Because I know he's a hot head,
Who without any fear, on my request,
Will challenge Meo Patacca in a duel.
In a few strokes, thanks to his skill,
He'll get rid of him, turning him into shreds,
And such an expedient would clearly be
Your revenge by the hand of somebody else .

So, is it a life risk -
Said Nuccia sighing, -
That the wretched Meo will face because of me?
And what would happen if he perished for me?
Indeed, the scoundrel deserves it,
But I would not want him to die.
As I still love him, despite the way he treats me...
Am I old? Ugly? Let him go to hell, and get killed!