Tobacco History:
The Social History of Smoking
by George Latimer Apperson
First published in 1914
"The Social History of Smoking" by George Latimer Apperson, can be purchased at Amazon.com in two different versions. Depending on the quality of the edition, prices range between $35 and $104.
From Chapter 4: On weekdays many New England Puritans probably smoked as their friends in old England did. A contemporary painting of a group of Puritan divines over the mantelpiece of Parson Lowell, of Newbury, shows them well provided with punch-bowl and drinking-cups, tobacco and pipes. One parson, the Rev. Mr. Bradstreet, of the First Church of Charlestown, was very unconventional in his attire. He seldom wore a coat, "but generally appeared in a plaid gown, and was always seen with a pipe in his mouth." John Eliot, the noble preacher and missionary to the Indians, warmly denounced both the wearing of wigs and the smokingof tobacco. But his denunciations were ineffectual in both matters—heads continued to be adorned with curls of foreign growth, and pipe-smoke continued to ascend.
From Chapter 7: It seems to have been taken for granted that country parsons smoked. smoking was universal among their male parishioners from the squire to the labourer (when he could afford it), so that it was only natural that the parson, with little to do, and in those days not too much inclination to do it, should be as fond of his pipe as the rest of the world around him. In a World of 1756 there is an account of a country gentleman entertaining one evening the vicar of the parish, and the host as a matter of course proceeds to order a bottle of wine with pipes and tobacco to be placed on the table. The vicar forthwith "filled his pipe, and drank very cordially to my friend," his host. One cannot doubt that Laurence Sterne, that most remarkable of country parsons, smoked. His "My Uncle Toby" is among the immortals, and Toby without his pipe is unimaginable.
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From Chapter 11: One of the most distinguished of Victorian men of letters, John Ruskin, was a great hater of tobacco. Notwithstanding this, he sent Carlyle—an inveterate smoker—a box of cigars in February 1865. In his letter of acknowledgment Carlyle wrote—"Dear Ruskin, you have sent me a magnificent Box of Cigars; for which what can I say in answer? It makes me both sad and glad. Ay de mi
'We are such stuff, Gone with a puff— Then think, and smoke Tobacco!'"
In the later years of his life, spent at Brantwood, Ruskin's guests found that smoking was not allowed even after dinner.
Another and greater Victorian, Gladstone, was also a non-smoker. He is said, however, on one occasion, when King Edward as Prince of Wales dined with him in Downing Street, to have toyed with a cigarette out of courtesy to his illustrious guest.
It was in the latter years of his life that Tennyson told Sir William Harcourt one day that his morning pipe after breakfast was the best in the day—an opinion, by the way, to which many less distinguished smokers would subscribe—when Sir William laughingly replied, "The earliest pipe of half-awakened bards."
The companion burlesque line, "The earliest pipe of half-awakened birdseye" appears, with one from Homer and one from Virgil, at the head of Arthur Sidgwick's poem in Greek Iambics, in "Echoes from the Oxford Magazine," 1890.
From Chapter 15: The sellers of tobacco naturally hung out their signs like other tradesfolk. Signs in their early days were, no doubt, chosen to intimate the trades of those who used them, and in the easy-going old-fashioned days when it was considered the right and natural thing for a son to be brought up to his father's trade and to succeed him therein, they long remained appropriate and intelligible. Later, as we shall see, they became meaningless in many cases. But in the days when tobacco-smoking first came into vogue, the signs chosen naturally had some reference to the trade they indicated, and one of the earliest used was the sign of the "Black Boy," in allusion to the association of the negro with tobacco cultivation. The "Black Boy" existed as a shop-sign before tobacco's triumph, for Henry Machyn in his "Diary," so early as December 30, 1562, mentions a goldsmith "dwellying at the sene of the Blake Boy, in the Cheep"; but the early sellers of tobacco soon fastened on this appropriate sign. The earliest reference to such use may be found in Ben Jonson's "Bartholomew Fair," 1614, where, in the first scene, Humphrey Waspe says: "I thought he would have run mad o' the Black Boy in Bucklersbury, that takes the scurvy, roguy tobacco there." Later, the "Black Boy," like other once significant signs, became meaningless and was used in connexion with various trades. Early in the eighteenth century a bookseller at the sign of the "Black Boy" on London Bridge was advertising Defoe's "Robinson Crusoe"; another bookseller traded at the "Black Boy" in Paternoster Row in 1712. Linendrapers, hatters, pawnbrokers and other tradesmen all used the same sign at various dates in the eighteenth century. But side by side with this indiscriminate and unnecessary use of the sign there existed a continuous association of the "Black Boy" with the tobacco trade. A tobacconist named Milward lived at the "Black Boy" in Redcross Street, Barbican, in 1742; and many old tobacco papers show a black boy, or sometimes two, smoking. Mr. Holden MacMichael, in his papers on "The London Signs" says: "Mrs. Skinner, of the old-established tobacconist's opposite the Law Courts in the Strand, possessed, about the year 1890, two signs of the 'Black Boy,' appertaining, no doubt, to the old house of Messrs. Skinner's on Holborn Hill, of the front of which there is an illustration in the Archer Collection in the Print Department of the British Museum, where the black boy and tobacco-rolls are depicted outside the premises." The "Black Boy," indeed, continued in use by tobacconists until the nineteenth century was well advanced. A tobacconist had a shop "uppon Wapping Wall" in 1667 at the sign of the "Black Boy and Pelican."
