Lullaby-Land: Songs of Childhood

COPYRIGHT, 1892 AND 1897, BY JULIA SUTHERLAND
FIELD. 1892, BY MARY FRENCH FIELD.
1893 AND 1894, BY EUGENE FIELD.

There is a sort of a garden—or rather an estate, of park and fallow and waste—nay, perhaps we may call it a kingdom, albeit a noman’s-land and an everyman’s land—which lies so close to the frontier of our work-a-day world that a step will take us therein. Indeed, some will have it that we are there all the time, that it is the real fourth dimension, and that at any moment—if we did but know the trick—we might find ourselves trotting along its pleasant alleys, without once quitting our arm-chair. Nonsense-Land is one of the names painted up on the board at the frontier-station; and there the custom-house officers are very strict. You may take as much tobacco as you please, any quantity of spirits, and fripperies of every sort, new and old; but all common-sense, all logic, all serious argument, must strictly be declared, and is promptly confiscated. Once safely across the border, it is with no surprise at all that you greet the Lead Soldier strutting somewhat stiffly to meet you, the Dog with eyes as big as mill-wheels following affably at his heel; on the banks of the streams little Johnny-head-in-air is perpetually being hauled out of the water; while the plaintive voice of the Gryphon is borne inland from the margin of the sea.

Most people, at one time or another, have travelled in this delectable country, if only in young and irresponsible days. Certain unfortunates, unequipped by nature for a voyage in such latitudes, have never visited it at all, and assuredly never will. A happy few never quit it entirely at any time. Domiciled in that pleasant atmosphere, they peep into the world of facts but fitfully, at moments; and decline to sacrifice their high privilege of citizenship at any summons to a low conformity.

Of this fortunate band was Eugene Field. He knew the country thoroughly, its highways and its byways alike. Its language was the one he was fondest of talking; and he always refused to emigrate and to settle down anywhere else. As soon as he set himself to narrate the goings-on there, those of us who had been tourists in bygone days, but had lost our return-tickets, pricked up our ears, and listened, and remembered, and knew. The Dinkey-Bird, we recollected at once, had been singing, the day we left, in the amfalula-tree; and there, of course, he must have been singing ever since, only we had forgotten the way to listen. Eugene Field gently reminded us, and the Dinkey-Bird was vocal once more, to be silent never again. Shut-Eye Train had been starting every night with the utmost punctuality; it was we who had long ago lost our way to the booking-office (I really do not know the American for booking-office). Now we can hurry up the platform whenever we please, and hear the doors slam and the whistle toot as we sink back on those first-class cushions! And the Chocolate Cat,—why, of course the cats were all chocolate then! And how pleasantly brittle their tails were, and how swiftly, though culled and sucked each day, they sprouted afresh!

It is an engaging theory, that we are all of us just as well informed as the great philosophers, poets, wits, who are getting all the glory; only unfortunately our memories are not equally good—we forget, we forget so terribly! Those belauded gentlemen, termed by our fathers “makers”—creators, to wit—they are only reminders after all: flappers, Gulliver would have called them. The parched peas in their gaily-painted bladders rattle with reminiscences as they flap us on the ears; and at once we recall what we are rightly abashed beyond measure to have for one instant forgotten. At any rate, it is only when the writer comes along who strikes a new clear note, who does a thing both true and fresh, that we say to ourselves, not only “How I wish I had done that myself!”—but also “And I would have done it, too—if only I had remembered it in time!” Perhaps this is one of the tests of originality.

Of course I am touching upon but one side of Eugene Field the writer. An American of Americans, much of his verse was devoted to the celebration of what we may call the minor joys which go to make social happiness in the life he lived with so frank and rounded a completion—a celebration which appealed to his countrymen no less keenly, that the joys were of a sort which, perhaps from some false sense of what makes fitness in subject, had hitherto lacked their poet—on that side at least. This, of course, was the fault of the poets. And though I spoke just now of minor joys, there are really no such things as minor joys—or minor thrushes and blackbirds. Fortunately this other aspect does not need to be considered here. I say fortunately, because it is not given to a writer to know more than one Land—to know it intimately, that is to say, so as to dare to write about it. This is the Law and the Prophets. Even that most native utterance, which sings of “the clink of the ice in the pitcher that the boy brings up the hall,” appeals to us but faintly, at second-hand. That pitcher does not clink in England.

In this spheral existence all straight lines, sufficiently prolonged, prove to be circles: and a line of thought is no exception. We are back at the point we started from—the consideration of Eugene Field as a citizen; of a sort of a cloud-country, to start with; and later, of a land more elemental. In either capacity we find the same note, of the joy of life. We find the same honest resolve, to accept the rules and to play out the game accordingly; the same conviction, that the game is in itself a good one, well worth the playing. And so, with no misgiving, he takes his America with just the same heartiness as his Nonsense-land.

The little boy who should by rights have been lost in the forest, by the white pebbles he had warily dropped found his way back safely to sunlight and to home; and to keep in touch with earth is at least to ensure progression in temperate and sweet-breathed atmosphere, as well as in a certain zone, and that no narrow one, of appreciation; the appreciation of our fellows, the world over; those who, whatever their hemisphere, daily find themselves pricked by a common sun, with the same stimulus for every cuticle, towards pleasures surprisingly similar.

KENNETH GRAHAME.

THE Rock-a-By Lady from Hushaby street
Comes stealing; comes creeping;
The poppies they hang from her head to her feet,
And each hath a dream that is tiny and fleet—
She bringeth her poppies to you, my sweet,
When she findeth you sleeping!

There is one little dream of a beautiful drum—
“Rub-a-dub!” it goeth;
There is one little dream of a big sugar-plum,

“THERE IS ONE LITTLE DREAM
OF A BEAUTIFUL DRUM”—

And lo! thick and fast the other dreams come
Of popguns that bang, and tin tops that hum,
And a trumpet that bloweth!

And dollies peep out of those wee little dreams
With laughter and singing;
And boats go a-floating on silvery streams,
And the stars peek-a-boo with their own misty gleams,

And up, up, and up, where the Mother Moon beams,
The fairies go winging!

Would you dream all these dreams that are tiny and fleet?
They’ll come to you sleeping;
So shut the two eyes that are weary, my sweet,
For the Rock-a-By Lady from Hushaby street,
With poppies that hang from her head to her feet,
Comes stealing; comes creeping.

WHEN our babe he goeth walking in his garden,
Around his tinkling feet the sunbeams play;
The posies they are good to him,
And bow them as they should to him,
As fareth he upon his kingly way;
And birdlings of the wood to him
Make music, gentle music, all the day,
When our babe he goeth walking in his garden.

When our babe he goeth swinging in his cradle,
Then the night it looketh ever sweetly down;
The little stars are kind to him,
The moon she hath a mind to him
And layeth on his head a golden crown;
And singeth then the wind to him
A song, the gentle song of Bethlem-town,
When our babe he goeth swinging in his cradle.

HAVE you ever heard the wind go “Yooooo”?
’Tis a pitiful sound to hear!
It seems to chill you through and through
With a strange and speechless fear.
’Tis the voice of the night that broods outside
When folks should be asleep,
And many and many’s the time I’ve cried
To the darkness brooding far and wide
Over the land and the deep:
“Whom do you want, O lonely night,
That you wail the long hours through?”
And the night would say in its ghostly way:
“Yoooooooo!
Yoooooooo!
Yoooooooo!”

My mother told me long ago
(When I was a little tad)
That when the night went wailing so,
Somebody had been bad;
And then, when I was snug in bed,
Whither I had been sent,
With the blankets pulled up round my head.
I’d think of what my mother’d said,
And wonder what boy she meant!
And “Who’s been bad to-day?” I’d ask
Of the wind that hoarsely blew,
And the voice would say in its meaningful way:
“Yoooooooo!
Yoooooooo!
Yoooooooo!”

That this was true I must allow—
You’ll not believe it, though!
Yes, though I’m quite a model now,
I was not always so.
And if you doubt what things I say,
Suppose you make the test;
Suppose, when you’ve been bad some day
And up to bed are sent away
From mother and the rest—
Suppose you ask, “Who has been bad?”
And then you’ll hear what’s true;
For the wind will moan in its ruefulest tone:
“Yoooooooo!
Yoooooooo!
Yoooooooo!”

IN an ocean, ’way out yonder
(As all sapient people know),
Is the land of Wonder-Wander,
Whither children love to go;
It’s their playing, romping, swinging,
That give great joy to me
While the Dinkey-Bird goes singing
In the amfalula tree!

There the gum-drops grow like cherries,
And taffy’s thick as peas—
Caramels you pick like berries
When, and where, and how you please;
Big red sugar-plums are clinging
To the cliffs beside that sea
Where the Dinkey-Bird is singing
In the amfalula tree.

So when children shout and scamper
And make merry all the day,
When there’s naught to put a damper
To the ardor of their play;
When I hear their laughter ringing,
Then I’m sure as sure can be
That the Dinkey-Bird is singing
In the amfalula tree.

For the Dinkey-Bird’s bravuras
And staccatos are so sweet—
His roulades, appoggiaturas,
And robustos so complete,
That the youth of every nation—
Be they near or far away—
Have especial delectation
In that gladsome roundelay.

Their eyes grow bright and brighter,
Their lungs begin to crow,
Their hearts get light and lighter,
And their cheeks are all aglow;
For an echo cometh bringing
The news to all and me,
That the Dinkey-Bird is singing
In the amfalula tree.

I’m sure you like to go there
To see your feathered friend—
And so many goodies grow there
You would like to comprehend!
Speed, little dreams, your winging
To that land across the sea
Where the Dinkey-Bird is singing
In the amfalula tree!

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 rosy-red 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!

THE gingham dog and the calico cat
Side by side on the table sat;
’Twas half-past twelve, and (what do you think!)
Nor one nor t’other had slept a wink!
The old Dutch clock and the Chinese plate
Appeared to know as sure as fate
There was going to be a terrible spat.
(I wasn’t there; I simply state
What was told me by the Chinese plate!)

The gingham dog went “bow-wow-wow!”
And the calico cat replied “mee-ow!”
The air was littered, an hour or so,
With bits of gingham and calico,
While the old Dutch clock in the chimney place
Up with its hands before its face,
For it always dreaded a family row!
(Now mind: I’m only telling you
What the old Dutch clock declares is true!)

The Chinese plate looked very blue,
And wailed, “Oh, dear! what shall we do?”
But the gingham dog and the calico cat
Wallowed this way and tumbled that,
Employing every tooth and claw
In the awfullest way you ever saw—
And, oh! how the gingham and calico flew!
(Don’t fancy I exaggerate!
I got my news from the Chinese plate!)

Next morning, where the two had sat,
They found no trace of dog or cat;
And some folks think unto this day
That burglars stole that pair away!
But the truth about the cat and pup
Is this: they ate each other up!
Now what do you really think of that!
(The old Dutch clock it told me so,
And that is how I came to know.)

THERE’s a dear little home in Good-Children street—
My heart turneth fondly to-day
Where tinkle of tongues and patter of feet
Make sweetest of music at play;
Where the sunshine of love illumines each face
And warms every heart in that old-fashioned place.

For dear little children go romping about
With dollies and tin tops and drums,
And, my! how they frolic and scamper and shout
Till bedtime too speedily comes!

Oh, days they are golden and days they are fleet
With little folk living in Good-Children street.

See, here comes an army with guns painted red,
And swords, caps, and plumes of all sorts;
The captain rides gaily and proudly ahead
On a stick-horse that prances and snorts!
Oh, legions of soldiers you’re certain to meet—
Nice make-believe soldiers—in Good-Children street.

And yonder Odette wheels her dolly about—
Poor dolly! I’m sure she is ill,
For one of her blue china eyes has dropped out
And her voice is asthmatic’ly shrill.
Then, too, I observe she is minus her feet,
Which causes much sorrow in Good-Children street.

’Tis so the dear children go romping about
With dollies and banners and drums,
And I venture to say they are sadly put out
When an end to their jubilee comes:
Oh, days they are golden and days they are fleet
With little folk living in Good-Children street!

A BOTTLE TREE bloometh in Winkyway land—
Heigh-ho for a bottle, I say!
A snug little berth in that ship I demand
That rocketh the Bottle-Tree babies away
Where the Bottle Tree bloometh by night and by day
And reacheth its fruit to each wee, dimpled hand;
You take of that fruit as much as you list,
For colic’s a nuisance that doesn’t exist!

So cuddle me close, and cuddle me fast,
And cuddle me snug in my cradle away,
For I hunger and thirst for that precious repast—
Heigh-ho for a bottle, I say!

The Bottle Tree bloometh by night and by day!
Heigh-ho for Winkyway land!
And Bottle-Tree fruit (as I’ve heard people say)
Makes bellies of Bottle-Tree babies expand—
And that is a trick I would fain understand!
Heigh-ho for a bottle to-day!
And heigh-ho for a bottle to-night—
A bottle of milk that is creamy and white!
So cuddle me close, and cuddle me fast,
And cuddle me snug in my cradle away,
For I hunger and thirst for that precious repast—
Heigh-ho for a bottle, I say!

WHEN the busy day is done,
And my weary little one
Rocketh gently to and fro;
When the night winds softly blow,
And the crickets in the glen
Chirp and chirp and chirp again;
When upon the haunted green
Fairies dance around their queen—
Then from yonder misty skies
Cometh Lady Button-Eyes

Through the murk and mist and gloam
To our quiet, cozy home,
Where to singing, sweet and low,
Rocks a cradle to and fro;
Where the clock’s dull monotone
Telleth of the day that’s done;
Where the moonbeams hover o’er
Playthings sleeping on the floor—
Where my weary wee one lies
Cometh Lady Button-Eyes.

Cometh like a fleeting ghost
From some distant eerie coast;
Never footfall can you hear
As that spirit fareth near—

Never whisper, never word
From that shadow-queen is heard.
In ethereal raiment dight,
From the realm of fay and sprite
In the depth of yonder skies
Cometh Lady Button-Eyes.

Layeth she her hands upon
My dear weary little one,
And those white hands overspread
Like a veil the curly head,
Seem to fondle and caress
Every little silken tress;
Then she smooths the eyelids down
Over those two eyes of brown—
In such soothing, tender wise
Cometh Lady Button-Eyes.

Dearest, feel upon your brow
That caressing magic now;
For the crickets in the glen
Chirp and chirp and chirp again,
While upon the haunted green
Fairies dance around their queen,
And the moonbeams hover o’er
Playthings sleeping on the floor—
Hush, my sweet! from yonder skies
Cometh Lady Button-Eyes!

PLAY that my knee was a calico mare
Saddled and bridled for Bumpville;
Leap to the back of this steed if you dare,
And gallop away to Bumpville!
I hope you’ll be sure to sit fast in your seat,
For this calico mare is prodigiously fleet,
And many adventures you’re likely to meet
As you journey along to Bumpville.

This calico mare both gallops and trots
While whisking you off to Bumpville;
She paces, she shies, and she stumbles, in spots,
In the tortuous road to Bumpville;
And sometimes this strangely mercurial steed
Will suddenly stop and refuse to proceed,
Which, all will admit, is vexatious indeed,
When one is en route to Bumpville!

She’s scared of the cars when the engine goes “Toot!”
Down by the crossing at Bumpville;
You’d better look out for that treacherous brute
Bearing you off to Bumpville!
With a snort she rears up on her hindermost heels,
And executes jigs and Virginia reels—
Words fail to explain how embarrassed one feels
Dancing so wildly to Bumpville!

It’s bumpytybump and it’s jiggityjog,
Journeying on to Bumpville;
It’s over the hilltop and down through the bog
You ride on your way to Bumpville;
It’s rattletybang over boulder and stump,
There are rivers to ford, there are fences to jump,
And the corduroy road it goes bumpytybump,
Mile after mile to Bumpville!

Perhaps you’ll observe it’s no easy thing
Making the journey to Bumpville,
So I think, on the whole, it were prudent to bring
An end to this ride to Bumpville;
For, though she has uttered no protest or plaint,
The calico mare must be blowing and faint—
What’s more to the point, I’m blowed if I ain’t!
So play we have got to Bumpville!

SHUFFLE-SHOON and Amber-Locks
Sit together, building blocks;
Shuffle-Shoon is old and grey,
Amber-Locks a little child,
But together at their play
Age and Youth are reconciled,
And with sympathetic glee
Build their castles fair to see.

“When I grow to be a man”
(So the wee one’s prattle ran),
“I shall build a castle so—
With a gateway broad and grand;
Here a pretty vine shall grow,
There a soldier guard shall stand;
And the tower shall be so high,
Folks will wonder, by-and-by!”

Shuffle-Shoon quoth: “Yes, I know;
Thus I builded long ago!
Here a gate and there a wall,
Here a window, there a door;
Here a steeple wondrous tall
Riseth ever more and more!
But the years have levelled low
What I builded long ago!”

So they gossip at their play,
Heedless of the fleeting day;
One speaks of the Long Ago
Where his dead hopes buried lie;
One with chubby cheeks aglow
Prattleth of the By-and-By;
Side by side, they build their blocks—
Shuffle-Shoon and Amber-Locks.

COME, my little one, with me!
There are wondrous sights to see
As the evening shadows fall;
In your pretty cap and gown,
Don’t detain
The Shut-Eye train—
“Ting-a-ling!” the bell it goeth,
“Toot-toot!” the whistle bloweth,
And we hear the warning call:
“All aboard for Shut-Eye Town!”

Over hill and over plain
Soon will speed the Shut-Eye train!
Through the blue where bloom the stars
And the Mother Moon looks down
We’ll away
To land of Fay—
Oh, the sights that we shall see there!
Come, my little one, with me there—
’Tis a goodly train of cars—
All aboard for Shut-Eye Town!

Swifter than a wild bird’s flight,
Through the realms of fleecy light
We shall speed and speed away!
Let the Night in envy frown—
What care we
How wroth she be!
To the Balow-land above us,
To the Balow-folk who love us,
Let us hasten while we may—
All aboard for Shut-Eye Town!

Shut-Eye Town is passing fair—
Golden dreams await us there;
We shall dream those dreams, my dear,
Till the Mother Moon goes down—
See unfold
Delights untold!
And in those mysterious places
We shall see beloved faces

Heavy are your eyes, my sweet,
Weary are your little feet—
Nestle closer up to me
In your pretty cap and gown;
Don’t detain
The Shut-Eye train!
“Ting-a-ling!” the bell it goeth,
“Toot-toot!” the whistle bloweth;
Oh, the sights that we shall see!
All aboard for Shut-Eye Town!

SEE, what a wonderful garden is here,
Planted and trimmed for my Little-Oh-Dear!
Posies so gaudy and grass of such brown—
Search ye the country and hunt ye the town
And never ye’ll meet with a garden so queer
As this one I’ve made for my Little-Oh-Dear!

Marigolds white and buttercups blue,
Lilies all dabbled with honey and dew,
The cactus that trails over trellis and wall,
Roses and pansies and violets—all
Make proper obeisance and reverent cheer
When into her garden steps Little-Oh-Dear!

And up at the top of that lavender-tree
A silver-bird singeth as only can she;
For, ever and only, she singeth the song
“I love you—I love you!” the happy day long;—
Then the echo—the echo that smiteth me here!
“I love you, I love you,” my Little-Oh-Dear!

The garden may wither, the silver-bird fly—
But what careth my little precious, or I?

“A SILVER-BIRD SINGETH
AS ONLY CAN SHE”

From her pathway of flowers that in spring-time upstart
She walketh the tenderer way in my heart;
And, oh, it is always the summer-time here
With that song of “I love you,” my Little-Oh-Dear!

OH, a wonderful horse is the Fly-Away Horse—
Perhaps you have seen him before;
Perhaps, while you slept, his shadow has swept
Through the moonlight that floats on the floor.

For it’s only at night, when the stars twinkle bright,
That the Fly-Away Horse, with a neigh
And a pull at his rein and a toss of his mane,
Is up on his heels and away!
The Moon in the sky,
As he gallopeth by,
Cries: “Oh! what a marvellous sight!”
And the Stars in dismay
Hide their faces away
In the lap of old Grandmother Night.

It is yonder, out yonder, the Fly-Away Horse
Speedeth ever and ever away—
Over meadows and lanes, over mountains and plains,
Over streamlets that sing at their play;
And over the sea like a ghost sweepeth he,
While the ships they go sailing below,
And he speedeth so fast that the men at the mast
Adjudge him some portent of woe.
“What ho there!” they cry,
As he flourishes by

“THE MOON IN THE SKY,
AS HE GALLOPETH BY,
CRIES: ‘OH! WHAT A MARVELLOUS SIGHT!’”

With a whisk of his beautiful tail;
And the fish in the sea
Are as scared as can be,
From the nautilus up to the whale!

And the Fly-Away Horse seeks those far-away lands
You little folk dream of at night—
Where candy-trees grow, and honey-brooks flow,
And corn-fields with popcorn are white;
And the beasts in the wood are ever so good
To children who visit them there—
What glory astride of a lion to ride,
Or to wrestle around with a bear!
The monkeys, they say:
“Come on, let us play,”
And they frisk in the cocoa-nut trees:
While the parrots, that cling
To the peanut-vines, sing
Or converse with comparative ease!

Off! scamper to bed—you shall ride him to-night!
For, as soon as you’ve fallen asleep,
With a jubilant neigh he shall bear you away
Over forest and hillside and deep!
But tell us, my dear, all you see and you hear
In those beautiful lands over there,
Where the Fly-Away Horse wings his far-away course
With the wee one consigned to his care.
Then grandma will cry
In amazement: “Oh, my!”
And she’ll think it could never be so;
And only we two
Shall know it is true—
You and I, little precious! shall know!

THERE once was a bird that lived up in a tree,
And all he could whistle was “Fiddle-dee-dee”—
A very provoking, unmusical song
For one to be whistling the summer day long!
Yet always contented and busy was he
With that vocal recurrence of “Fiddle-dee-dee.”

Hard by lived a brave little soldier of four,
That weird iteration repented him sore;
“I prithee, Dear-Mother-Mine! fetch me my gun,
For, by our St. Didy! the deed must be done
That shall presently rid all creation and me
Of that ominous bird and his ‘Fiddle-dee-dee’!”

Then out came Dear-Mother-Mine, bringing her son
His awfully truculent little red gun;
The stock was of pine and the barrel of tin,
The “bang” it came out where the bullet went in—
The right kind of weapon I think you’ll agree
For slaying all fowl that go “Fiddle-dee-dee”!

The brave little soldier quoth never a word,
But he up and he drew a straight bead on that bird;
And, while that vain creature provokingly sang,
The gun it went off with a terrible bang!
Then loud laughed the youth—“By my Bottle,” cried he,
“I’ve put a quietus on ‘Fiddle-dee-dee’!”

Out came then Dear-Mother-Mine, saying: “My son,

HAVE you ever heard of the Sugar-Plum Tree?
’Tis a marvel of great renown!

It blooms on the shore of the Lollipop sea
In the garden of Shut-Eye Town;

The fruit that it bears is so wondrously sweet
(As those who have tasted it say)

That good little children have only to eat
Of that fruit to be happy next day.
When you’ve got to the tree, you would have a hard time
To capture the fruit which I sing;
The tree is so tall that no person could climb
To the boughs where the sugar-plums swing!
But up in that tree sits a chocolate cat,
And a gingerbread dog prowls below—
And this is the way you contrive to get at
Those sugar-plums tempting you so:

You say but the word to that gingerbread dog
And he barks with such terrible zest
That the chocolate cat is at once all agog,
As her swelling proportions attest.
And the chocolate cat goes cavorting around
From this leafy limb unto that,
And the sugar-plums tumble, of course, to the ground—
Hurrah for that chocolate cat!

There are marshmallows, gumdrops, and peppermint canes,
With stripings of scarlet or gold,
And you carry away of the treasure that rains
As much as your apron can hold!

So come, little child, cuddle closer to me
In your dainty white nightcap and gown,
And I’ll rock you away to that Sugar-Plum Tree
In the garden of Shut-Eye Town.