The orphan Camilla, who has been reared in yonder castle with her, as her sister, is in danger during all these last minutes which still retain her from his arms.
'If I should never see her--I who, like a poor ghost upon the shores of the dead river, have been flattered with the thought that she would fall upon my breast like a ray of the light of Elysium--if I should never see her more!' The famous tenore threw his whole force into that outcry of projected despair, and the house was moved by it: there were many in the house who shared his apprehension of a foul mischance.
Thenceforward the opera and the Italian audience were as one.

All that was uttered had a meaning, and was sympathetically translated.
Camilla they perceived to be a grave burlesque with a core to it.

The quick-witted Italians caught up the interpretation in a flash.

'Count Orso' Austria; 'Michiella' 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.