The whole story as #A# actually stands, notwithstanding that the lass says she will take ship, seems to pass on land. Two different relations may have been confounded. In the other versions Love Gregory is somewhere over sea, and in #B#, #F# his lass is indebted for his direction, not to a company who are raking over the lea, but to a sea-rover, who shows a consideration not to be looked for from his class.[126] The maid, repulsed by Gregory's mother, and supposing herself to be cast off by Gregory himself, sails away from his castle, and in #D#, #E# encounters a storm, and is wrecked. In #D# Gregory rushes to the strand near which his castle lies, sees Annie sailing away, witnesses the wreck of her vessel, plunges into the sea and brings her body to land, and dies of heartbreak. So in #E#, with the difference that Annie's body is thrown ashore by the waves, and that the tale does not finish with the death of Gregory, which we know must have followed. Why the lovers are parted, why Gregory winna come to the lass, and she must go to him, is not accounted for in #C-G#. We may deduce from #A# and #B#, though the story in these versions as we have it is not altogether consistent, that the lass was banished from kith and kin on account of her connection with Gregory (which in #B# 16 and #H# 9 is said to have been irregular) and flying to her lover, found no acceptance with his mother. Cunningham has rewritten this ballad, Scottish Songs, I, 298, and several songs have been composed on the story: by Burns and Dr Wolcott (Peter Pindar), Thomson's Select Melodies of Scotland, I, 37, ed. 1822; Jamieson, Popular Ballads, I, 46; and by an anonymous writer in a London periodical, cited by Dixon, Scottish Traditional Versions of Ancient Ballads, p. 99. Roch- or Rough-royal, #A#, #D#, #E#, #F#, Ruchlawhill, #C#, I have not found, but there is a Rough castle in Stirlingshire. Loch Ryan runs up into the north-west corner of Wigtown, a shire at the south-west extremity of Scotland. Aughrim is in the county of Roscommon, Ireland. As the mother in this ballad, feigning to be her son, requires the lady at the gate to legitimate herself by mentioning some of the tokens which have been exchanged between her and her lover, so in other ballads a wife demands conclusive proofs that a man claiming to be her long absent husband is what he pretends to be. E. g., some forms of the French ballad of 'Germaine:' 'Ouvre ta port', Germin', c'est moi qu'est ton mari.' 'Donnez-moi des indic's de la première nuit, Et par là je croirai que vous êt's mon mari.' 'T'en souviens-tu, Germin', de la première nuit, Où tu étais monté' sur un beau cheval gris, Placée entre tes frèr's et moi ton favori?' 'Donnez-moi des indic's de la deuxième nuit, Et par là je croirai que vous êt's mon mari, Et par là je croirai que vous êt's mon mari.'