PLANT-LORE OF SHAKESPEARE 
45 
that it was introduced by the Norman builders, perhaps as a 
pleasant memory of their Norman homes, though it may have 
been accidentally introduced with the Normandy (Caen) stone, 
of which parts of the castles are built. How soon it became a 
florist’s flower we do not know, but it must have been early, 
as in Shakespeare’s time the sorts of Cloves, Carnations, and 
Pinks were so many that Gerard says: “A great and large 
volume would not suffice to write of every one at large in par¬ 
ticular, considering how infinite they are, and how every yeare, 
every clymate and countrey bringeth forth new sorts, and such 
as have not heretofore bin written of;” and so we may certainly 
say now—the description of the many kinds of Carnations 
and Picotees, with directions for their culture, would fill a 
volume. 
Carrawags. 
Nay, you shall see my orchard, where, in an arbour we will eat a last 
year’s Pippin of my own grafting, with a dish of Caraways and so 
forth.-— 2 nd Henry IV, v. 3, 1. 
Carraways are the fruit of Carum carui , an umbelliferous 
plant of a large geographical range, cultivated in the eastern 
counties, and apparently wild in other parts of England, but 
not considered a true native. In Shakespeare’s time the seed 
was very popular, and was much more freely used than in 
our day. “The seed,” says Parkinson, “is much used to be 
put among baked fruit, or into bread, cakes, &c., to give them 
a rellish. It is also made into comfits and put into Trageas 
or (as we call them in English) Dredges, that are taken for 
cold or wind in the body, as also are served to the table with 
fruit.” 
Carraways are frequently mentioned in the old writers as an 
accompaniment to Apples. In a very interesting bill of fare 
of 1626, extracted from the account book of Sir Edward Dering, 
is the following— 
