The prime poem and the two songs derived from it constitute one piece of life-cycle poetry. Obviously, the lullaby is a song for the first stage of a human being's life, after which follows the song for adults. The prime poem, which is probably not really suitable for singing, is a poem for an adult at a later stage in life when pondering about approaching death should become a more reasonable thing to do, even when there is not any immediate threat to one's life. On the surface 我宝贝，有一天 is no more than a lullaby; clearly, a neutral-inclusive lullaby but a lullaby all the same, especially when acually sung for a baby or little child. However, when addressed to an adult person 我宝贝，有一天 may acquire an entirely different meaning. Instead of suggesting the presence of a very young human being whose future opportunities are being looked forward to, it suggests in that case the presence of an adult who is unable, or who refuses, to hear truth, to smell relevance, to feel inclusivity, to see neutrality or to taste personhood. In other words, an adult who has still to be awaked but who is let to rest in sleep one while longer. Should such an adult not wake up 'imself anymore, it may also be 'er one or more children that will eventually wake up. The phrase 你孩子 is, then, made to refer not to 'you(,) (my) child' but to 'your child(ren)'.
Note that in the songs 包容 is used instead of 包括性, and 人格 instead of 想人性. Strictly speaking, from a substantive point of view, the two TRINP values concerned here are to be called "包括性", for inclusivity, and "想人性", for personhood. The word 包容 combines the notion of inclusiveness (in which two or more parties or things are included on equal terms) and the certainly theoretically incompatible notion of tolerance (in which a stronger or bigger party is supposed to tolerate a weaker or smaller party). The word 人格 means character, personality or dignity, something that presupposes personhood and does not factually distinguish persons from nonpersons; it rather distinguishes the one type of person from the other type, especially in the sense of personality. In the songs 包容 and 人格 are being used nevertheless because they are traditional words of two syllables and characters, just like 真理, 关系 and 中性, with which people who have no further knowledge of the Model of Neutral-Inclusivity should already be more or less familiar. (In the beginning 关系 may confuse those who do not realize that this term does not only mean relation(s) in a very broad sense, but that in combination with 真理, that is, truth, in particular it has to be interpreted in the specific sense of relevance.)
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