You must have Mamamouchi[1], such a fop
  As would appear a monster in a shop;
  He’ll fill your pit and boxes to the brim,
  Where, rain’d in crowds, you see yourselves in him. 
  Sure there’s some spell, our poet never knew,
  In Hullibabilah de, and Chu, chu, chu;
  But Marababah sahem[2] most did touch you;
  That is, Oh how we love the Mamamouchi! 
  Grimace and habit sent you pleased away: 
  You damned the poet, and cried up the play. 
    This thought had made our author more uneasy,
  But that he hopes I’m fool enough to please ye. 
  But here’s my grief,—­though nature, joined with art,
  Have cut me out to act a fooling part,
  Yet, to your praise, the few wits here will say,
  ’Twas imitating you taught Haynes to play.

Footnotes: 
1.  See the introductory remarks on the “Citizen turned Gentleman,” of
   Ravenscroft, where the jest turns on Jorden’s being created a
   Mamamouchi, or Turkish paladin, as it is interpreted.

2. Trickman. I told him she was woundrous beautiful.  Then said he,
   Marababa sahem, Ah how much in love am I!

Jorden. Marababa sahem, means, how much in love am I?

Trick. Yes.

Jorden. I am beholden to you for telling me, for I ne’er could
have thought that Marababa sahem, should signify, Ah how much in
love am I. Ah this Turkish is an admirable language!

          
                                                    Citizen turned Gentleman, Act.  IV.

In the same piece, we are presented with a grand chorus of Turks
and Dervises, who sing, “Hu la baba la chou ba la baba la da.”

DRAMATIS PERSONAE.

Duke of Mantua. Prince FREDERICK, his son. AURELIAN, a Roman Gentleman. CAMILLO, his friend. MARIO, Governor of Rome. ASCANIO, page of honour to the Prince. BENITO, Servant to AURELIAN.  VALERIO, confidant to the Duke. FABIO, Servant to MARIO.

  SOPHRONIA, Abbess of the Torr’ di Specchi.
  LUCRETIA, a Lady designed to be a Nun.
  HIPPOLITA, a Nun.
  LAURA, }
  VIOLETTA } Sisters, nieces to MARIO. 
  FRONTONA, lets Lodgings.

SCENE—­Rome.

THE

ASSIGNATION;

OR,

LOVE IN A NUNNERY.

ACT I.

SCENE I.—­A Room, a great glass placed.

Enter BENITO, with a guitar in his hand.

Ben. [Bowing to the glass.] Save you, sweet signior Benito; by my faith I am glad to see you look so bonnily to-day.  Gad, sir, every thing becomes you to a miracle:  your peruke, your clothes, your hat, your shoe-ties; and, gad, sir, let me tell you, you become every thing; you walk with such a grace, and you bow so pliantly!