This paper examines a “Lullay lullay littel child, why wepëstou so sore?” our earliest witness to what we easily label as a “lullaby.” It seeks to pull apart this quick identification and really put pressure on what the term “lullaby” carries with it, and what we bring to a poem when we apply this label. It at once uses the categorical type to put pressure on the particular poem and the particular poem to put pressure on the category. The crux of understanding the history of the lullaby lies in the essential concept of soothing. This paper traces the meaning back from our modern sense based on comfort to the medieval idea of truth to propose that the truth-telling capacity of the lullaby in and of itself provided a source of comfort for its audience (or performer).