In the sixth poem, the speaker declares, that he is henceforth dead to all human endeavour. He only wants to conjure the beloved to his mind and imagine new conversations with her. Nothing else matters to him, and he cries when the images from his dreams disappear in the cold morning. This poem is again addressed to the beloved or the speaker’s dream image of her. The emotional contrasts in the text and the different dynamics and textures in the music facilitate the shaping of this song. In the first verse, the speaker declares that he cannot enjoy and dedicate himself to anything. Due to the inversion of the sentence and the repeated vowel “e”, the phrase “Jedem werke” stands out. The speaker firmly emphasises that he is oblivious and insensitive to everything. After the first contact has been established in the fourth song, there is no doubt left: his sole future purpose is to serve her. The stressed cadence and the dark vowels at the end of the verse further underline the absoluteness of his statement. After the soft starts of the previous songs, the sixth song opens loudly and directly. We discovered that the beginning works …show more content…
Her importance to him is underlined by the prominent position of the word “Dich” (you) at the beginning of the sentence. In the third verse, the pronoun “dir” (you) is emphasised through the varied repetition “mit den […] mit dir”. The lighter vowels, in particular towards the end of the verses, contribute to the atmosphere of delicate sensuality and longing fantasy. The verb “nahzurufen”, which literally means “to call to come close”, hints at the suggestive power of the speaker’s dreams. As if the speaker dwells on his thoughts about the beloved, thinking up (“ausspinnen”) another conversation with her in his head, the subordinate clause does not lead into a main clause. Instead, it gets suddenly interrupted by the fourth