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Since the first Europeans imported tobacco from the New World more than 500
years ago, smoking has become a global obsession. Whether you're a committed
smoker or a zealous guardian of public health, this lush coffee-table book about
the history of smoking is bound to fascinate.
It is easy to forget that the practice of smoking tobacco has aroused vehement
responses - both positive and negative - for a long time. Some doctors in the
early modern period attributed miraculous medical powers to smoking, claiming it
staved off hunger and melancholy, cured rheumatic ailments, and was good for
But the nay sayers were equally forceful. Ben Johnson satirized the use of
tobacco as a panacea in Every Man In His Humor (1601); King James I wrote a
treatise on its pernicious qualities, including its addictiveness. But despite
James' imposition of a 4000 per cent tax increase on the weed, smoking spread.
As Barnabe Rich lamented in 1617: "If all be sick that doth use to take tobacco,
God help England, it is wonderfully infected, and his Majestie hath but a few
subjects that be healthful in his whole dominions."
Advertisement Tobacco wasn't strictly a European affair, of course, and nor
were attempts to discourage its use. It spread along trade routes in the 17th
century to Africa, the Near East, to China and Japan.
Wherever it spread, smoking found its critics. Users were condemned for
indolence and pleasure-seeking but one of the main strands of attack was the
foreignness of tobacco. The Ottoman Sultan Murad IV was the first ruler to ban
the alien vice, on pain of death; Japan and China followed suit.
All to no avail. Smoking was quickly adopted worldwide and striking regional
variations developed as each new culture adopted the practice of tobacco
consumption. Indeed, one of the chief pleasures of this book lies in its images
of elaborate smoking paraphernalia from all over the world. There are
hand-carved pipes from Africa, hookahs and sheeshas from the Middle East, the
Japanese kiseru, German meerschaums, Cuban cigars, even a floral porcelain tray
built to hold individual cigarettes for the discerning lady of the belle-epoque.
Women, although they did smoke in private, were not publicly represented as
smokers in art, unless it was to indicate their licentiousness and sexual
availability. Odalisque paintings produced during the 19th-century orientalist
craze almost invariably depicted a naked woman smoking in a harem. The gypsy in
Prosper Merimee's Carmen also fits this mould.
As smoking became socially accepted, it naturally became a subject of the arts.
In Meso-America - tobacco's heartland - decorative vases depicting smoking gods
and animals had been produced for hundreds of years. From the 17th century on,
European artists used smokers for different purposes. Smoking became prevalent
in paintings of the Dutch Golden Age, where smoking was presented chiefly as a
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