THE STRAW PARLOR by Eugene Field: Summary, Meaning & Analysis
A child finds a snug hideout at the peak of a straw stack, where a swallow, a spider, a cricket, and a mouse all coexist happily.
The poem
Way up at the top of a big stack of straw Was the cunningest parlor that ever you saw! And there could you lie when aweary of play And gossip or laze in the coziest way; No matter how careworn or sorry one's mood No worldly distraction presumed to intrude. As a refuge from onerous mundane ado I think I approve of straw parlors, don't you? A swallow with jewels aflame on her breast On that straw parlor's ceiling had builded her nest; And she flew in and out all the happy day long, And twittered the soothingest lullaby song. Now some might suppose that that beautiful bird Performed for her babies the music they heard; _I_ reckon she twittered her répertoire through For the folk in the little straw parlor, don't you? And down from a rafter a spider had hung Some swings upon which he incessantly swung. He cut up such didoes--such antics he played Way up in the air, and was never afraid! He never made use of his horrid old sting, But was just upon earth for the fun of the thing! I deeply regret to observe that so few Of these good-natured insects are met with, don't you? And, down in the strawstack, a wee little mite Of a cricket went chirping by day and by night; And further down, still, a cunning blue mouse In a snug little nook of that strawstack kept house! When the cricket went "chirp," Miss Mousie would squeak "Come in," and a blush would enkindle her cheek! She thought--silly girl! 't was a beau come to woo, But I guess it was only the cricket, don't you? So the cricket, the mouse, and the motherly bird Made as soothingsome music as ever you heard And, meanwhile, that spider by means of his swings Achieved most astounding gyrations and things! No wonder the little folk liked what they saw And loved what they heard in that parlor of straw! With the mercury up to 102 In the shade, I opine they just sizzled, don't you? But once there invaded that Eden of straw The evilest Feline that ever you saw! She pounced on that cricket with rare promptitude And she tucked him away where he'd do the most good; And then, reaching down to the nethermost house, She deftly expiscated little Miss Mouse! And, as for the Swallow, she shrieked and withdrew-- I rather admire her discretion, don't you? Now listen: That evening a cyclone obtained, And the mortgage was all on that farm that remained! Barn, strawstack and spider--they all blew away, And nobody knows where they're at to this day! And, as for the little straw parlor, I fear It was wafted clean off this sublunary sphere! I really incline to a hearty "boo-hoo" When I think of this tragical ending, don't you?
A child finds a snug hideout at the peak of a straw stack, where a swallow, a spider, a cricket, and a mouse all coexist happily. Then, a cat bursts in and gobbles up the cricket and mouse, the swallow takes off in fright, and a cyclone swoops in, whisking the entire farm away. This whimsical, humorous story-poem presents a charming little world that gets utterly wiped out, playfully engaging the reader with a wink and a nudge.
Line-by-line
Way up at the top of a big stack of straw / Was the cunningest parlor that ever you saw!
A swallow with jewels aflame on her breast / On that straw parlor's ceiling had builded her nest;
And down from a rafter a spider had hung / Some swings upon which he incessantly swung.
And, down in the strawstack, a wee little mite / Of a cricket went chirping by day and by night;
So the cricket, the mouse, and the motherly bird / Made as soothingsome music as ever you heard
But once there invaded that Eden of straw / The evilest Feline that ever you saw!
Now listen: That evening a cyclone obtained, / And the mortgage was all on that farm that remained!
Tone & mood
Warm, playful, and gently humorous all the way through, with a touch of mock-tragedy at the end. Field maintains a light tone even when the cat devours the cricket and mouse — this poem smiles at you rather than winking slyly. The repeated "don't you?" refrain creates the atmosphere of a storyteller engaging children around a fire, always making sure everyone is still following along. The final stanza leans into deliberate melodrama, but the "boo-hoo" signals that Field is aware of the joke, even while he plays up the sadness.
Symbols & metaphors
- The straw parlor — The parlor is a classic childhood escape — a personal realm distinct from adult worries. Field describes it as a space where "worldly distraction" can't reach, symbolizing the imaginative freedom and temporary havens kids create to shield themselves from everyday life.
- The cat — The cat symbolizes the unwelcome presence of a cold, predatory reality in an innocent world. She doesn’t have any animosity towards the cricket or the mouse — she just follows her own instincts. This makes her more disturbing than a typical villain, even in a lighthearted poem.
- The cyclone — The cyclone represents a final, indifferent force of change—one that disregards cozy parlors or happy memories. When combined with the mortgage joke, it highlights the harsh realities of adulthood, where financial instability and natural disasters ultimately consume every childhood paradise.
- The spider's swings — The spider swinging on its homemade swings embodies a small picture of pure, aimless joy—doing something tough and risky simply "for the fun of it." Field laments that so few creatures (or humans) get to live like this.
- The swallow's song — The swallow singing for the children instead of her own chicks represents art given freely and generously to those who need it most. It's a gentle reminder that beauty is meant for its audience, not just for the one who creates it.
Historical context
Eugene Field wrote this poem in the 1880s or early 1890s while he was a columnist and poet at the Chicago Morning News and later the Chicago Daily News. By then, he was already well-known for "Wynken, Blynken, and Nod" and "Little Boy Blue." He gained a reputation for writing verses that resonated with children while also appealing to adult readers. At that time, the American Midwest was primarily farm country, and a strawstack was a common sight for his audience—not an exotic backdrop but something utterly ordinary, which makes the idea of turning one into a "parlor" amusing. The poem also showcases the late-Victorian taste for domestic humor and reflects the anxieties about farm life, particularly highlighted by the mortgage joke in the final stanza. Field passed away in 1895 at the age of 45, and a bittersweet quality permeates much of his work: joy is expressed so vividly that its absence feels palpable.
FAQ
A child—or perhaps the narrator reflecting on their childhood—finds a snug hideaway at the peak of a haystack, where a swallow, a spider, a cricket, and a mouse have made their home. Then, a cat wreaks havoc on this little community, followed by a cyclone that wipes out everything else. It's a tale about a delightful little world and how swiftly it can be dismantled.
The narrator speaks directly to the reader—or to a child hearing the poem read aloud. This storytelling technique creates a sense of closeness, as if you’re beside someone reminiscing and hoping you’ll nod along, agreeing that it was indeed wonderful and, yes, also sad.
Both were Field's specialty. Children enjoy the animals, the cozy hideout, and the amusing cat. Adults appreciate the mortgage joke, the term "expiscated," the mock-epic language, and the subtle sadness about things that don't endure.
It means "fished out" — it originates from a Latin word connected to fish. Field uses it as a deliberately pretentious and silly term for the cat reaching into the straw to pull out the mouse. The humor lies in the contrast between the grandiose vocabulary and the simple act of a cat catching a mouse.
"Sublunary" translates to "beneath the moon" — a term from classical and Renaissance times that contrasted the earthly realm with the heavens. Field employs it to add a touch of mock-elegance: the little straw parlor has drifted so far away that it has completely escaped the earth. It’s an extravagant way to express that it’s gone for good.
He's using mock-epic language—portraying a farm cat as if she's a formidable villain from an epic poem. It's amusing because the cat isn't really evil; she's just acting like a cat. The over-the-top language turns the stanza into a playful parody of a dramatic battle scene.
It's both at once, which is the whole point. Field expresses a desire to cry "boo-hoo," but the word feels theatrical and a bit silly. The poem captures a true sense of loss — the parlor really did sound wonderful — yet Field stops it from crossing into true grief. That balance is what makes the ending effective.
After the cyclone, the only thing left on the farm is the mortgage — that debt. It's a dark adult joke about how financial obligations outlast everything else, even the physical farm itself. For Field's Midwestern readers in the 1880s and 1890s, farm debt and foreclosure were serious concerns, so this line would have resonated with a knowing laugh.