TOBACCO ON THE STAGE. 93 
upon Twelfth Night, 1613-14, one of the characters chal- 
lenges another, and asserts that wine is more worthy than 
tobacco. The costumes were exceedingly grotesque and 
suggestive of the New rather than of fhe Old World. Kawosha 
one of the principal characters rode in, wearing on his head 
a cap of red-cloth of gold, from his ears were pendants, a 
glass chain was about his neck, his body and legs were 
covered with olive-colored stuff, in his hands were a bow and 
arrows, and the bases of tobacco-colored stuff cut like 
tobacco leaves. The play abounds with allusions to the 
“Indian weed.” — 
“6 Silenus.— Kawosha comes in majestie, 
Was never such a God as he; 
He’s come from a far countrie 
To make our nose a chimney. 
Kawosha.—The wine takes the contrary way 
To get into the hood; 
But good tobacco makes no stay 
But seizeth where it should. 
More incense hath burned at 
Great Kawoshae’s foote 
‘Than to Silen and Bacchus, both, 
And take in Jove to boote. 
Silenus.—The worthies they were nine tis true, 
And lately Arthur’s knights I knew; 
But now are come up Worthies new, 
The roaring boys Kawoshae’s crew. 
Kawosha.—Silenus toppes the barrel, but 
Tobacco toppes the braine 
And makes the vapors fire and soote, 
That mon revise againe. 
Nothing but fumigation 
Doth charm away ill sprites, 
Kawosha and his nation 
Found out these holy rites.” 
The writers of this period abound in allusions to tobacco 
and its use. The poets and dramatists found in it a fertile 
field for the display of their satire, and from 1600 to 1650 
stage plays introduced many characters as either tobacco 
