From the first announcement that English navigators had discovered tobacco in Virginia, until the London and Plymouth companies sailed for the New World, the deepest interest was taken in the voyagers. Drayton, the poet, wrote of "The Virginian Voyage," while Chapman and other dramatists wrote plays in which allusions were made to Virginia. In the "Mask of Flowers," performed at White Hall upon Twelfth Night, 1613-14, one of the characters challenges another, and asserts that wine is more worthy than tobacco. The costumes were exceedingly grotesque and suggestive of the New rather than of the 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."
"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 drinkers or sellers. It had now become so great a custom and had increased so fast after the importation of Virginia tobacco that it afforded them no insignificant theme for the display of their genius.[41] The plays of Jonson, Decker, Rowland, Heywood, Middleton, Fields, Fletcher, Hutton, Lodge, Sharpham, Marston, Lilly (court poet to Elizabeth), the Duke of Newcastle and others are full of allusions to the plant and those who indulged in its use. Shakespeare,[42] however, does not once allude to its use, and his silence on this then curious custom has provoked much conjecture and inquiry. Some affirm that he wrote to please royalty, but if so why did he not condemn the custom to appease the wrath of a sapient king. Others say he kept silence because he was the friend of Raleigh, and though he would have gladly held up the great smoker and his favorite indulgence, feared to add to the popularity of the custom by displeasing his royal master. Another class affirm that as the stories of his plays are all antecedent to his own time, therefore he never mentions either the drinking of tobacco, or the tumultuous scenes of the ordinary which belonged to it, and which are so constantly met with in his contemporary dramatists. Says one:
Smoking in the Seventeenth Century.
"How is it that our great dramatist never once makes even the slightest allusion to smoking? Who can suggest a reason? Our great poet knew the human heart too well, and kept too steadily in view, the universal nature of man to be afraid of painting the external trapping and ephemeral customs of his own time. Does he not delight to moralize on false hair, masks, rapiers, pomandens, perfumes, dice, bowls, fardingales, etc? Did he not sketch for us, with enjoyment and with satire, too, the fantastic fops, the pompous stewards, the mischievous pages, the quarrelsome revellers, the testy gaolers, the rhapsodizing lovers, the sly cheats, and the ruffling courtiers that filled the streets of Elizabethan London, persons who could have been found nowhere else nor in any other age? No one can dispute that he drew the life that he saw moving around him. He sketched these creatures because they were before his eyes and were his enemies or his associates; they live still because their creator's genius was Promethean, and endowed them with immortality. Bardolph, Moth, Slender, Abhorson, Don Armado, Mercutio, etc., are portraits, as everyone knows and feels who is conversant with the manners of the Elizabethan times as handed down in old plays.