A fumfay is a creation solely from Field's imagination—there's no folklore to back it up. It appears to be a small, lively dream-sprite that resides in the sky-garden, taking care of the dreamikins. Field adds just the right touch of personality (it dances all night) to make it believable for a child's imagination without going into too much detail.

Why does the poem repeat the same structure in each stanza?

The repetition is intentional and serves a purpose. Lullabies rely on repetition—the same sounds, rhythms, and gestures—because predictability is comforting. Each stanza includes the same three kisses and concludes with the same rocking refrain, allowing the poem to mimic the ritual of calming a child to sleep.

What is the poem's meter and rhyme scheme?

The poem has a rhythm that leans towards anapestic, giving it a rocking or swaying feel. Each stanza follows a rhyme scheme of AABCCBA, featuring a repeated refrain line — the 'which you seek' and 'So, so, rock-a-by so' lines serve as anchors for each stanza, much like bookends. It's meant to be sung just as much as it is to be read.

Who is the speaker of the poem?

The speaker is a parent—likely a mother, especially since the third stanza mentions, 'Don't forget mother who loveth you so.' In the first two stanzas, the speaker could be either parent, but Field reveals the identity at the end, adding emotional weight to the final stanza.

What is the 'treasure' mentioned in the first stanza?

The 'treasure that lies / In the beautiful garden way up in the skies' symbolizes the dreams awaiting the child during sleep. Field portrays the child's dream-life as a valuable treasure, already present and just waiting to be discovered—turning sleep into a treasure hunt instead of merely an end.

How does this poem compare to Field's more famous 'Wynken, Blynken, and Nod'?

The two poems have a lot in common: they both feature made-up words, a sky-garden or sky-sea where dreams reside, a soothing rhythm, and the main theme of sleep as a magical journey. 'Wynken, Blynken, and Nod' leans more toward storytelling, while 'So, So, Rock-a-by So!' focuses more on lyrical and ritual elements. At their core, both are lullabies.

Is there any sadness in this poem, or is it purely happy?

Mostly it's joyful, but the line 'Don't forget mother who loveth you so' has a subtle sadness. It's something a parent might say, fully aware that kids eventually grow up and leave. Field lost his own children and died young, and even in his most lighthearted work, there's often a recognition that these precious moments are fleeting.

The Annotated Edition

So, So, Rock-A-By So! by Eugene Field

Summary, meaning, line-by-line analysis & FAQ.

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This lullaby is what a parent sings while gently rocking their baby to sleep, guiding the little one off to a magical garden of dreams in the sky with three sweet kisses.

Poet: Eugene Field
Core theme: Childhood

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The PoemFull text

So, So, Rock-A-By So!

Eugene Field

So, so, rock-a-by so! Off to the garden where dreamikins grow; And here is a kiss on your winkyblink eyes, And here is a kiss on your dimpledown cheek And here is a kiss for the treasure that lies In the beautiful garden way up in the skies Which you seek. Now mind these three kisses wherever you go-- So, so, rock-a-by so! There's one little fumfay who lives there, I know, For he dances all night where the dreamikins grow; I send him this kiss on your droopydrop eyes, I send him this kiss on your rosyred cheek. And here is a kiss for the dream that shall rise When the fumfay shall dance in those far-away skies Which you seek. Be sure that you pay those three kisses you owe-- So, so, rock-a-by so! And, by-low, as you rock-a-by go, Don't forget mother who loveth you so! And here is her kiss on your weepydeep eyes, And here is her kiss on your peachypink cheek, And here is her kiss for the dreamland that lies Like a babe on the breast of those far-away skies Which you seek-- The blinkywink garden where dreamikins grow-- So, so, rock-a-by so!

§01Quick summary

What this poem is about

This lullaby is what a parent sings while gently rocking their baby to sleep, guiding the little one off to a magical garden of dreams in the sky with three sweet kisses. Each stanza brings something new — kisses for the child, kisses for a tiny dream-sprite named the fumfay, and finally, kisses from the mother. Overall, the poem beautifully conveys a simple message: you are loved, so now it's time to sleep.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

So, so, rock-a-by so! / Off to the garden where dreamikins grow;
Editor's note
The opening stanza paints a picture: a parent gently rocking a child to sleep, envisioning a garden in the sky filled with 'dreamikins' — tiny dreams as fresh as coins. Three kisses are placed on the child's eyes, cheek, and heart, each acting as a small ritual of love. The made-up words ('winkyblink,' 'dimpledown') echo the soft, silly sounds parents often make with their babies, and the refrain 'So, so, rock-a-by so' maintains the soothing rocking rhythm throughout.
There's one little fumfay who lives there, I know, / For he dances all night where the dreamikins grow;
Editor's note
The second stanza introduces the fumfay, a whimsical dream-sprite who dances throughout the night in the sky-garden. The parent sends kisses *through* the child to this enchanting creature, treating the child as a messenger bridging the waking world and the dream world. The notion that the child 'owes' the fumfay three kisses transforms the bedtime routine into a small adventure with a purpose, making sleep seem like a magical experience to anticipate rather than something to give in to.
And, by-low, as you rock-a-by go, / Don't forget mother who loveth you so!
Editor's note
The final stanza grounds the poem with its most emotionally resonant line: 'Don't forget mother who loveth you so.' The made-up words ('weepydeep,' 'peachypink') have a gentler, more affectionate tone compared to those in the earlier stanzas. The closing image of dreamland resting 'like a babe on the breast of those far-away skies' subtly reflects the real baby on a real mother's breast. The poem wraps up where it started, with the soothing refrain, bringing everything full circle.

§04Tone & mood

How this poem feels

Warm, soft, and playful all at once. Field maintains a gentle energy that can soothe a child while still engaging a parent's interest. The playful compound words ('winkyblink,' 'droopydrop,' 'blinkywink') create a soft, musical quality that feels more like humming than talking. Beneath the whimsy lies a genuine sense of maternal tenderness — particularly in the final stanza, where the tone subtly deepens without becoming heavy.

§05Symbols & metaphors

Symbols & metaphors

The dreamikin garden: Sleep and dreams are envisioned as a vibrant, thriving garden high up in the sky. This makes falling asleep feel like an adventure to a wonderful place instead of just drifting off — a comforting perspective for both a child and a parent.
The three kisses: Each stanza offers three kisses — one for the eyes, one for the cheek, and one for something deeper (the 'treasure,' the dream, the dreamland). The number three carries a fairy-tale charm that adds significance and fullness to the ritual, resembling a spell or a blessing.
The fumfay: This invented sprite that dances all night in the dream-garden embodies the lively spirit of dreams — playful, tireless, and just beyond the grasp of the waking world. By giving it a name and a personality, Field makes the dream world feel welcoming and familiar instead of odd.
The far-away skies: The sky above the child as they drift off is both a literal presence and a symbol—a realm beyond everyday life filled with beauty, rest, and imagination. It reflects the longstanding tradition of associating heaven with the sky in lullabies and children's poetry.
The rocking refrain: The line 'So, so, rock-a-by so' isn't just there for musical flair. It mimics the gentle rocking of a cradle on the page, maintaining the poem's movement while the child settles into sleep.

§06Historical context

Historical context

Eugene Field was an American journalist and poet based in Chicago during the 1880s and 1890s. He became closely associated with poems about children and childhood, earning him the nickname 'the children's poet.' He wrote these verses at a time when sentimental domestic poetry was hugely popular in American newspapers and homes—poems meant to be read aloud, often by mothers to their children. As a father of eight, Field's most famous works, like 'Wynken, Blynken, and Nod' and 'Little Boy Blue,' reflect a style rich in playful nursery language and dreamlike imagery. 'So, So, Rock-a-by So!' is a perfect example of this tradition: a lullaby meant to be sung or chanted, featuring a rhythmic meter that mimics the soothing act of putting a child to sleep. Field passed away at just 45, and many of his poems subtly acknowledge how fleeting childhood truly is.

§07FAQ

Questions readers ask

It's a word that Field invented. The '-kins' suffix is a familiar diminutive (like 'lambkins' or 'babykins'), so 'dreamikins' simply refers to cute, little dreams. Field plays with made-up words like this throughout the poem, crafting a gentle, private language that feels unique to the realm of babies and sleep.

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