But, as Wordsworth reminds us, these ever-youthful waters have their gladsome notes. On the not unchallengeable ground that it makes mention, in one version, of 'St. Mary's' as the fourth Scots Kirk at which halt was made after leaving the English Border, _The Gay Goshawk_ has been set down among the Yarrow ballads; and Hogg has confirmed the claim by using the tale as the foundation of his _Flower of Yarrow_. Even here such happiness as the lovers find comes by a perilous way past the very gates of the grave. The feigning of death, as the one means of escape from kinsfolk's ban to the arms of love, was a device known to Juliet and to other heroines of old plays and romances. But few could have abode the test suggested by the 'witch woman' or cruel stepmother, whose experience had taught her that 'much a lady young will do, her ain true love to win': '"Tak' ye the burning lead, And drap a drap on her white bosom To try if she be dead."' And Lord William, at St. Mary's Kirk, was more fortunate than Romeo in the vault of the Capulets; for when he rent the shroud from the face the blood rushed back to the cheeks and lips, 'like blood-draps in the snaw,' and the 'leeming e'en' laughed back into his own: '"Gie me a chive o' your bread, my love, And ae glass o' your wine, For I hae fasted for your love These weary lang days nine."' _The Nut-brown Bride_ and _Fair Janet_ might also be identified as among the Yarrow lays, if only it were granted that there is but one 'St. Mary's Kirk.' In the former, the balladist treats, with dramatic fire and fine insight into the springs of action, the theme that 'To be wroth with those we love Doth work like madness in the brain.' As in Barbara Allan, a word spoken amiss sets division between two hearts that had beat as one: 'Lord Thomas spoke a word in jest, Fair Annet took it ill.'