Li Mortacci tua
The same is true for li mortacci tua “classic” Roman word: that assumes conflicting meanings depending on the tone of facial and body appearance that attend its expression: it can mean, if accompanied by a face that expresses wonder, positive feelings of admiration, surprise and satisfaction at a fortunate event or outstanding ( “li mortacci, but how much you won?”); or, with a cheerful face, joy and affection for an unexpected encounter and acceptable ( “li mortacci tua , where have you been?”); or still communicate and negative feelings that neutral: with a face looking upset or dejected, with a tone of voice altered or subdued, can reveal at the same time, anger or desolation ( “li mortacci tua ,what have you done? »).
You can often hear them exclaim a generic mortacci! or even just mortacci! (Very common in these cases forms apheretic ‘taccitua and’ ccitua), the occurrence of something sudden and abrupt (eg .: an object falling from the hands and immediately breaks down, an unexpected loud noise) .This in evidence that this expression has now entered in the range of exclamations, and is not perceptible to the literal meaning (the offense to the dead). In all these cases, the word becomes irrelevant, is not offensive but it is a reinforcement, the equivalent of an exclamation mark, the words following invective: so much so that it can also be turned to themselves ( “Li mortacci mia, how much I tycoon! “).
The same word can mean moods entirely negative, as resentment, hatred or pain, if accompanied by a look of proper face but, in all these cases, the word is not addressed as much to offend the dead ancestors the subject to which it is addressed – offense of which perhaps these might not even resent it – what used as a generic phrase addressed to the person in the sense that it can also be directed toward those who, perhaps because of their youth, did not honor the deceased which storage.
The consistency of “material” of the word, the content ignominious same disappears, becomes “metaphysical”, in front of moods with which it is pronounced, and only these are truly real. Safe offensive, in its concreteness, it proposes in emphatic form of the word itself: “The souls of li mejo mortacci tua’, where the reference is insulting in that reference” spiritual “soul and address specific abusive addressed, not to generic deceased relatives, but mejo them, the closest and dearest.