There is not the slightest doubt: the cat Castrato is the reincarnation of a great eunuch from antiquity: the theologian Origen, the Justinian general Narses, or perhaps one of the ingenious prime ministers of Byzantium? Let him decide for himself.

We are interested in the entire "Castrato" trio. Well, they are consubstantial. All three heroes are castrated: Castrato in body, the old lady in spirit, Lucretia in soul. Three disabilities of the modern world that play the role-playing game here and masochistically nurture their misery as they depend on each other. Each hero expresses his own dissatisfaction for which he blames, like all of us, whether he admits it or not, the... evil fate.

If the roles were reversed - Castrato whole and insatiably lustful, Lucretia "apathetic" and virtuous, the lady unromantic, authoritarian, and perhaps youthful - the world landscape would still be incurably sick, the trio would still be shipwrecked within its contradictions, and of course, "Castrato" would balance again ingeniously, as a poetic comic.

The poetry of "Castrato" thus consists precisely in its symmetry with the essence of relationships in the modern world: they are impossible. This "dialogue of the deaf," beyond its humorous mechanisms, is instructive in this respect: that beings today live as comically tragic and especially alone, within their needs and each with its own code of speech.