From Chapter 2:
Ben Jonson has given us an amusing picture of the behaviour of gallants on the Elizabethan stage, in his "Cynthia's Revels." In this scene a child thus mimics the obtrusive beau: "Now, sir, suppose I am one of your genteel auditors, that am come in (having paid my money at the door, with much ado), and here I take my place, and sit downe. I have my three sorts of tobacco in my pocket, my light by me, and thus I begin. 'By this light, I wonder that any man is so mad, to come to see these rascally tits play here—they do act like so many wrens—not the fifth part of a good face amongst them all—and then their musick is abominable—able to stretch a man's ears worse than ten—pillories, and their ditties—most lamentable things, like the pitiful fellows that make them—poets. By this vapour—an't were not for tobacco—I think—the very smell of them would poison me, I should not dare to come in at their gates. A man were better visit fifteen jails—or a dozen or two hospitals—than once adventure to come near them.'" And the young rascal, who at each pause marked by a dash had puffed his pipe, no doubt blowing an extra large "cloud" when he swore "by this vapour," turns to his companions and says: "How is't? Well?" and they pronounce his mimicry "Excellent!"

From Chapter 7:
This print is now chiefly of interest because the plate was adorned with a tiny etching by Hogarth, in which appear the figures of the British Lion and Britannia, both with pipes in their mouths, Britannia being seated on a cask of tobacco.

Hogarth was fond of introducing the pipe into his plates. In the tail-piece to his works, which he prepared a few months before his death, and which he called The Bathos, or Manner of Sinking in Sublime Paintings, the end of everything is represented. Time himself, supported against a broken column, is expiring, his scythe falling from his grasp and a long clay pipe breaking in two as it falls from his lips. This was issued in 1764—Hogarth's last published work. In the plate which shows the execution of Thomas Idle, in the "Industry and Idleness" series, Hogarth depicts the little hangman smoking a short pipe as he sits on the top of the gallows, waiting for his victim. The familiar plate of A Modern Midnight Conversation shows a parson in surplice and wig smoking like a furnace while he ladles punch from a bowl—probably meant for a portrait of the notorious Orator Henley. Most of the other guests are also shown smoking long clay pipes.