|  | | | | | | From Chapter 3: The tobacco-tongs were more properly called ember-or brand-tongs. They sometimes had a tobacco-stopper riveted in near the axis of the tongs, and thus could be easily distinguished from other kinds of tongs. An example in the Guildhall Museum, made of brass, and probably of late seventeenth-century date, has the end of one of the handles formed into a stopper. In the same collection there are several pairs of ember-tongs with handles or jaws decorated. In one or two a handle terminates in a hook, by which they could be hung up when not required for use. In that delightful book of pictures and gossip concerning old household and farming gear, and old-fashioned domestic plenishings of many kinds, called "Old West Surrey," Miss Jekyll figures two pairs of old ember-or brand-tongs. One of these quite deserves the praise which she bestows upon it. "Its lines," says Miss Jekyll, "fill one with the satisfaction caused by a thing that is exactly right, and with admiration for the art and skill of a true artist." These homely tongs are fashioned with a fine eye for symmetry, and, indeed, for beauty of design and perfect fitness for the intended purpose. The ends which were to pick up the coal are shaped like two little hands, while "the edges have slight mouldings and even a low bead enrichment. The circular flat on the side away from the projecting stopper has two tiny engraved pictures; on one side of the joint a bottle and tall wine-glass, on the other a pair of long clay pipes crossed, and a bowl of tobacco shown in section." This beautiful little implement bears the engraved name of its Surrey maker, and the date 1795.
From Chapter 6: smoking was still popular also at Oxford. A. D'Anvers, in her "Academia; or the Humours of Oxford," 1691, speaks, indeed, of undergraduates who, when they could not get tobacco, did much as the parson of Thornton is reputed to have done, as already related in Chapter II, i.e. they condescended to smoke fragments of mats. With this may be compared the macaronic lines:
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From Chapter 3: Taking the whiff, it has been suggested, may have been either a swallowing of the smoke, or a retaining it in the throat for a given space of time; but what may be meant by the "Cuban ebolition" or the "euripus" is perhaps best left to the imagination. "Ebolition" is simply a variant of "ebullition," and "ebullition," as applied with burlesque intent to rapid smoking—the vapour bubbling rapidly from the pipe-bowl—is intelligible enough, but why Cuban? "Euripus" was the name, in ancient geography, of the channel between Eubœa (Negropont) and the mainland—a passage which was celebrated for the violence and uncertainty of its currents—and hence the name was occasionally applied by our older writers to any strait or sea-channel having like characteristics. The use of the word in connexion with tobacco may, like that of "ebolition," have some reference to furious smoking, but the meaning is not clear.
From Chapter 5: "Old English 'clays,'" says Mr. T.P. Cooper, "are exceedingly interesting, as most of them are branded with the maker's initials. Monograms and designs were stamped or moulded upon the bowls and on the stems, but more generally upon the spur or flat heel of the pipe. Many pipes display on the heels various forms of lines, hatched and milled, which were perhaps the earliest marks of identification adopted by the pipe-makers. In a careful examination of the monograms we are able to identify the makers of certain pipes found in quantities at various places, by reference to the freeman and burgess rolls and parish registers. During the latter half of the seventeenth century English pipes were presented by colonists in America to the Indians; they subsequently became valuable as objects of barter or part purchase value in exchange for land. In 1677 one hundred and twenty pipes and one hundred Jew's harps were given for a strip of country near Timber Creek, in New Jersey. William Penn, the founder of Pennsylvania, purchased a tract of land, and 300 pipes were included in the articles given in the exchange."
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From Chapter 3: Trickery of another kind is revealed in a scene in Chapman's play "A Humorous Day's Mirth," 1599. A customer at an ordinary says: "Hark you, my host, have you a pipe of good tobacco?" "The best in the town," says mine host, after the manner of his class. "Boy, dry a leaf." Quietly the boy tells him, "There's none in the house, sir," to which the worthy host replies sotto voce, "Dry a dock leaf." But the diner's potations must have been powerful if they had left him unable to distinguish between the taste of tobacco and that of dried dock-leaf.
From Chapter 8: When Tennyson was an undergraduate at Cambridge, 1828-30, he and his companions all smoked. At the meetings of the "Apostles"—the little group of friends which included the future Laureate—"much coffee was drunk, much tobacco smoked." Dons smoked as well as undergraduates. At Queens', the Combination-room in Tennyson's time had still a sanded floor, and the "table was set handsomely forth with long 'churchwardens'"—as the poet told Palgrave when the two visited Cambridge in 1859. George Pryme, in his "Autobiographic Recollections," 1870, states that in 1800 " smoking was allowed in the Trinity Combination-room after supper in the twelve days of Christmas, when a few old men availed themselves of it," which looks as if tobacco were not very popular just then at Trinity. With the wine, pipes and the large silver tobacco-box were laid on the table. Porson, when asked for an inscription for the box, suggested Pryme says that among the undergraduates, of whom he was one, tobacco had no favour, and "an attempt of Mr. Ginkell, son of Lord Athlone ... to introduce smoking at his own wine-parties failed, although he had the prestige of being a hat-fellow-commoner."
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