The lullabies are a sort of children songs by which we lull babies to sleep with such actions as cradling, or swinging, or embracing inside arms, or backing, in which actions we move right and left, or to and fro. Sometimes we tap babies` hip very lightly. The followings are summaries of this paper. 1. One of the major roles of the lullabies would be to babes asleep. There can be, at least, three ways of making them asleep. We can use a cradle or a swing those of which are with any instrument for this goal. The other way is rather manual. They are embracing in arms, backing, laying them down in bed, and so forth. 2. Lullabies, although they are entertained by young and old people as well, show the difference from common children songs in the sense that most of the singers are adults. It is assumed, nevertheless, that they can be treated as children songs because they contain the world of children. 3. There can be observed two kinds of lullabies when we pay our attention to their contributions; prevailed ones over the Korean pennisular and local ones over a particular locality. The latter, needless to say, reflects a unique local features. 4. The former types keep those themes such as the Five-Principal-Moralities, wealth and high elevatin in rank, longivity, and so forth, while the latter represent commonership, daily lives, satireship, and so forth. 5. The treat animals to higher the beauty of babies. A crane, a cammal, a swallow, a crow, and another animals are just good examples. Plants are adopted for the with of growing-up without any bad luck. A papaya, a cucumber, a melon, and a vegitable are such examples All of these figurative mediums are the very daily, visible, and concrete objects in common. 6. The essential tention initiators in the Korean Lullabies are surmised as four candidates. They are my baby (let`s call it just A for short), others baby(A`), a dog (B), and another animals (B`), By combining those candidates, we can figure out seven matchable forms, by which term the writer means that all four factors match together in quite harmonic fashion so as to make the songs precede well enough, and two unmatchable forms. The former include type A: A`, type A:B, type A:B`, type A:A`:B, type A:B(B`), type A:A`:B`, and A:A`:B(B`). The latter are such type as A which content is about my baby exclusively, and a varient type in which a sort of language game elements (just word for word, not for object) are appeared. 7. The common syllabic forms are two-feet ones. Sometimes, however, three-feet can be inserted into even-feet, The reason, it is assumed, why even-feet are adopted in most songs are closely related to the activity of lulling babies in any motion such as cradles, swings, manual soothings, and so forth all of which are performed by two-steps in regular modes. 8. The even-feet constraint is preserved quite strongly in the final stanza. This fact seems to restrict the preceding stanzas adhere the followed stanza fashion. This final stanza, in addition, which character deserves repetition words can appear in the beginning or middle part freely. The more the repetition stanza comes in the beginning or concluding part of the songs, the more strong rhythmic function is retained, However it keeps rather resting function in the middle part of the songs.