hiella' is Austria's spirit of intrigue; 'Camillo' is
indolent Italy, amorous Italy, Italy aimless; 'Camilla' is YOUNG ITALY!

Their eagerness for sight of Vittoria was now red-hot, and when Camillo
exclaimed 'She comes!' many rose from their seats.

A scrap of paper was handed to Antonio-Pericles from Captain Weisspriess,
saying briefly that he had found Irma in the carriage instead of the
little 'v,' thanked him for the joke, and had brought her back. Pericles
was therefore not surprised when Irma, as Michiella, came on, breathless,
and looking in an excitement of anger; he knew that he had been tricked.

Between Camillo and Michiella a scene of some vivacity
ensued--reproaches, threats of calamity, offers of returning endearment
upon her part; a display of courtly scorn upon his. Irma made her voice
claw at her quondam lover very finely; it was a voice with claws, that
entered the hearing sharp-edged, and left it plucking at its repose. She
was applauded relishingly when, after vainly wooing him, she turned aside
and said--

'What change is this in one who like a reed
Bent to my twisting hands? Does he recoil?
Is this the hound whom I have used to feed
With sops of vinegar and sops of oil?'

Michiella's further communications to the audience make it known that she
has allowed the progress toward the ceremonies of espousal between
Camillo and Camilla, in order, at the last moment, to show her power over
the youth and to plunge the detested Camilla into shame and wretchedness.

Camillo retires: Count Orso appears. There is a duet between father and
daughter: she confesses her passion for Camillo, and entreats her father
to stop the ceremony; and here the justice of the feelings of Italians,
even in their heat of blood, was noteworthy. Count Orso says that he
would willingly gratify his daughter, as it would gratify himself, but
that he must respect the law. 'The law is of your own making,' says
Michiella. 'Then, the more must I respect it,' Count Orso replies.

The audience gave Austria credit for that much in a short murmur.

Michiella's aside, 'Till anger seizes him I wait!' created laughter; it
came in contrast with an extraordinary pomposity of self-satisfaction
exhibited by Count Orso--the flower-faced, tun-bellied basso, Lebruno. It
was irresistible. He stood swollen out like a morning cock. To make it
further telling, he took off his yellow bonnet with a black-gloved hand,