That Awful Mess on the via Merulana - Carlo Emilio Gadda [159]
A majolica pan, as if from a clinic of the first category, was set on the brick floor, and not even near the wall: and neither did it lack some undeciphered content, on the consistence, coloration, odor, viscosity and specific weight of which both the lynx eyes and the bloodhound scent of Ingravallo felt that it wasn't necessary to investigate and analyze: the nose, of course, could not exempt itself from its natural functioning, that is, from that activity, or to be more accurate, that papillary passivity which is proper to it, and which does not admit, helas, any interlude or inhibition or absence of any kind from its duty.
"Is this your father?" Don Ciccio asked Tina, looking at her, looking around, and then taking off his hat.
"Doctor, you see the state he's in. You wouldn't believe me: but now you've got to believe me, finally!" she exclaimed in a resentful tone, and with eyes which seemed to have wept, the beauty. "I've given up hope by now. It'd be better for him, and for me too, if he died. To suffer like that, and without any money or anything. His behind, if you'll pardon the word, is just one big sore, now: it's a mess, poor Papa!" She was trying, thought Ingravallo harshly, in her grief she was trying to turn her father to use, his direct decay. "And he even has a rubber bedpan," she sighed, "otherwise his bedsores would have been infected. This morning, at eight o'clock, he was in pain again, it hurt him bad, he said. He couldn't stay still ten minutes, you might say. Now he hasn't moved for three hours: he doesn't say a word: I have a feeling he's out of his suffering now, that he can't suffer any more": she dried her eyes, blew her little nose: "because he can't feel anything now, good or bad, poor Papa . . . The priest can't get here before one, he sent word. Ah me, poor us!" she looked at Ingravallo, "if it hadn't been for the signora!" That remark sounded empty, distant. Liliana: it was a name. It seemed, to Don Ciccio, that the girl hesitated to evoke it.
"Of course," he said, wearily, "the bedpan!" and he remembered the unbosomings of Balducci, "I know, I know who gave it to you: and that jar, too," and he indicated it with his head, his chin, "and the blanket," he looked at the blanket on the bed, "you were given them by ... by a person who promptly got paid back, for her goodness. Don't do good, if you don't want to receive evil, the proverb says. And that's how it is. Aren't you going to talk? Don't you remember?"
"Doctor? what should I remember?"
"Remember the person who helped you so much, when you deserved so little."
"Yes, the family where I worked: but why didn't I deserve it?"
"The family! Signora Liliana, you mean! who had her throat cut by a murderer!" and his eyes were such that, this time, Tina was frightened: "by a murderer," he repeated, "whose name," he spoke, curule, "whose full name we know! . . . and where he lives: and what he does . . ." The girl turned white, but didn't say a word.
"Out with his name! yelled Don Ciccio. "The police know this name already. If you tell it right now," his voice became deep, persuasive: "it's all to the good, for you."
"Doctor Ingravalli," repeated Tina to gain