|Sumario:||As a part of children’s literature, and having an evident communication simplicity, cradle songs are a genre that encourage the analysis of the child representation underlying each text. From this point of view, we consider we are able to understand and amplify the typology established by García Lorca to depict Spanish lullabies in his conference "Las nanas infantiles" (1928). This article aims to propose a typology comprehensive not only of folk anonymous cradle songs, but also of poems written by known authors that reproduce the basic scheme of the genre. Open to mutual hybridization, the categories here presented are meant to be tools for further interpretations. So, we pay attention to semantic and pragmatic aspects of cradle songs: the generation of a new perceptive space and the duality of tones, that duality that reflects "”as Cerrillo Torremocha says"” "the duality of life itself ["¦], whit its obsessions, its loves and its hopes".