From Chapter 2:
It chaunc'd me gazing at the Theater,
To spie a Lock-Tabacco Chevalier
Clowding the loathing ayr with foggie fume
Of Dock Tobacco friendly foe to rhume—

says a versifier of 1599, who did not like smoking in the theatre and so abused the quality of the tobacco smoked—though admitting its medicinal virtue. Dekker suggests, probably with truth, that one reason why the young gallant liked to push his way to a stool on the stage, notwithstanding "the mewes and hisses of the opposed rascality"—the "mewes" must have been the squeals or whistles produced by the instrument which was later known as a cat-call—was the opportunity such a prominent position afforded for the display of "the best and most essential parts of a gallant—good cloathes, a proportionable legge, white hand, the Persian lock, and a tolerable beard." Apparently, too, serving-boys were within call, and thus lights could easily be obtained, which were handed to one another by the smokers on the points of their swords.

From Chapter 5:
Tobacco was still the symbol of good-fellowship. Winstanley, who was an enemy of what he called "this Heathenish Weed," and who thought the "folly" of smoking might never have spread so much if stringent "means of prevention" had been exercised, yet had to declare in 1660 that "Tobacco it self is by few taken now as medicinal, it is grown a good-fellow, and fallen from a Physician to a Complement. 'He's no good-fellow that's without ... burnt Pipes, Tobacco, and his Tinder-Box.'"