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performance is not allowed. Please be sure that cell phones,

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Please note that late entry or reentry ofthe 

East Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

www.nga.gov

cover: Paul Stevenson Oles, Sketch ofthe East Building Exterior, 1971,

National Gallery ofArt Archives, Gift ofI. M. Pei and Partners

The Seventieth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,880th Concert

Jessica Jones, soprano

Danielle DeSwert Hahn, pianist

In honor ofWomen’s History Month

March 25, 2012

Sunday, 6:30 pm

East Building Auditorium

Admissionfree
Program

Clara Schumann (1819-1896)

From Three Songs, op. 12 (1841)

no. 2: Er ist gekommen

no. 4: Liebst du um Schonheit

Lorelei (1843)

Robert Schumann (1810-1856), arr. Clara Schumann

Der Nussbaum, op. 25. no3

Mondnacht, op. 39, no.

5

Widmung, op. 25, no.1

Robert Schumann

Frauenliebe und leben, op. 42 

Seit ich ihn gesehen

Er, der Herrlichste von alien

Ich kann’s nicht fassen, nicht glauben

Du Ring an meinem Finger

Helft mir, ihr Schwestern

SiiRer Freund, du blickest mich verwundert an

An meinem Herzen, an meiner Brust

Nun hast du mir den ersten Schmerz getan

INTERMISSION

Gabriel Faure (1845-1924)

From Trois Romances sans paroles, op. 17 (1880)

No. 3: Andante moderato

Nadia Boulanger (1887-1979)

Cantique (1909)

Chanson (1909)

Lili Boulanger (1893-1918)

From Trois Morceaux pour piano (1911-1914) D’un jardin clair

Aaron Copland (1900-1990)

From Eight Poems ofEmily Dickinson (1970)

no. 6: Dear March, come in!

no. 5: Heart, we will forget him

no. 8: When they come back

no. 11: Going to Heaven!

Lori Laitman (b. 1955)

Four Dickinson Songs (1996)

Will there really bea morning?

I’m nobody

She died

IfI...
The Musicians

JESSICA JONES

Acclaimed for the beauty ofher voice and her superb musicianship, soprano

Jessica Jones sings with America’s leading opera companies, including

Houston Grand Opera (Marguerite in Gounod’s Faust and Micaela in Bizet’s

Carmen) and Seattle Opera (Fiordiligi in Cosifan Tutte). Her work with

symphony orchestras includes Mahler’s Fourth Symphony with the Alabama

Symphony Orchestra, the soprano solos in Beethoven’s Ninth Symphony

with the Florida Philharmonic and Seattle symphony orchestras, and Ravel’s

VEnfant et les sortileges with the New York Philharmonic at Carnegie Hall 

under the baton of Lorin Maazel. She has also sung with the Atlanta, Chicago, 

Detroit, and San Francisco symphony orchestras as well as the Los Angeles

Philharmonic Orchestra and the Saint Paul Chamber Orchestra.

Equally at home with twentieth-century music, Jones sang the roles of

Love Simpson and Myrtis in Carlisle Floyd’s Cold Sassy Tree with Utah

Opera, and she created the role of Natasha Rogozhinskaya in Tod Machover’s

Resurrection. The recipient of numerous prizes, including a Sullivan Foundation Grant and First Place in the 1998 Jenny Lind Competition and Opera

Birmingham Competition, Jessica Jones was the soprano soloist in the

National Gallery ofArt Orchestra’s New Year Concert in 2010.

4

DANIELLE DESWERT HAHN

Brussels-born pianist Danielle DeSwert Hahn is a freelance collaborative

pianist and coach and the music program specialist at the National Gallery 

ofArt. She has worked as a pianist and coach with the Ash Lawn Highland

Opera Festival, Chautauqua Opera, Indianapolis Opera, Kentucky Opera,

New Orleans Opera Association, Portland (Oregon) Opera, San Francisco

Opera Center, Sarasota Opera, and Washington National Opera. From

2004-2006 she was the principal repetiteur with the Baltimore Opera

Company and Washington Concert Opera.

Hahn performs regularly in chamber music and voice recitals, including

performances at the Arts Club ofWashington, the Jewish Community

Center of Greater Washington, the Kennedy Center, the Mexican Institute of

Culture, the National Gallery, the Russian Embassy, and the White House.

She performs as a member ofthe National Gallery ofArt Piano Trio, and is

principal pianist with the Inscape Chamber Music Project.

5
Program Notes

In honor ofWomen’s History Month, Jessica Jones and Danielle DeSwert

Hahn contrast the music offemale composers with that oftheir male

counterparts. In the case of Robert and Clara Schumann, their well-known

love affair extended beyond a simple romance—their pairing benefited

both her career as a prodigious concert pianist and his as a composer.

Though her father was greatly opposed to their becoming romantically

involved, they famously took him to court to gain permission to marry. The

year they did so, 1840, was Robert’s most productive year ofsongwriting; he

composed more than three hundred songs. In that same year, the couple

embarked on a project in which they planned to collaborate on and publish

a collection ofsongs. Among the poems that Clara chose to set were Er ist

gekommen and Liebst du um Schonheit, written from a woman’s perspective

about passion and devotion by Friedrich Riickert (1788-1866). Lorelei is a

setting of Heinrich Heine’s (1797-1856) narrative ofthe eponymous legend.

Clara, the main breadwinner ofthe family, began to lose confidence in

herself as a composer as she got older, saying “I once believed that I possessed creative talent, but I have given up this idea; a woman must not

desire to compose—there has never yet been one able to do it. Should I

expect to be the one?” Robert, however, felt differently, as he remarked in

their joint diary: “Clara has composed a series ofsmall pieces, which show a

musical and tender ingenuity such as she has never attained before. But to

have children, and a husband who is always living in the realm ofimagination, does not go together with composing. She cannot work at it regularly, 

and I am often disturbed to think how many profound ideas are lost because

she cannot work them out.” As the self-appointed chiefinterpreter of her

husband’s compositions, Clara dedicated herselfto promoting, playing, editing, and transcribing them. She arranged many ofhis songs for piano solo.

Robert Schumann’s Frauenliebe und leben sets another group of poems

written by a man from a woman’s perspective. Written in 1830, Adelbert von 

Chamisso’s poems were still quite new when the songs were composed ten

years later, shortly before Robert and Clara were given permission to marry.

6

Because of Schumann’s agitation and uncertainty about the impending marriage, the music is fraught with emotion to an extent that stands out even in

the Romantic period.

Described by composer Ned Rorem as the most influential teacher since

Socrates, Nadia Boulanger taught most ofthe great composers ofthe twentieth

century. Herself a student and devotee ofGabriel Faure, she could be seen as

the link between the Romantic era composers and the next generation. With

a photographic memory and an all-encompassing knowledge ofmusic from

Bach to her contemporaries, Boulanger was a keen composer in her youth,

attempting several times to win the Prix de Rome. Her younger sister, Lili,

who began her studies with Nadia, did take the Prix in 1913, at age nineteen.

She also studied with Faure, who felt she had great talent and promise. After 

Lili’s untimely death in 1918, Nadia declared all her own compositions useless.

One of Nadia Boulanger’s more famous students was Aaron Copland.

Best known for his uniquely American style of composition, blending

elements ofjazz and folk tunes, Copland was drawn to American writers,

among them Emily Dickinson. In contrast to Frauenliebe und leben, these

poems were written by a woman from a woman’s perspective, but set by a

male composer. He matched her lyrical yet abrupt style with wide leaps for 

the singer, strange pauses and changing meters, as well as difficult and

awkward passages for the pianist.

The concert concludes with a set ofsongs by a woman composer, setting

poems by a woman poet. Writing about her Four Dickinson Songs, Lori

Laitman says: “The combination ofthese poems allows for dramatic musical

contrasts within the cycle. The wistful ‘Will there really be a morning?’ gives

way to the humorous and bouncy ‘I’m nobody.’ The elegiac ambience of

‘She died’ is created by a spare opening piano accompaniment that later

alternates with fluid meters. ‘If I...’ was composed as a gift for my father’s

eightieth birthday. Its simple, accessible melody passes from voice to piano

and back again before ending with the singer humming. My father is now

ninety-five, still in good health.”

Program notes by Danielle DeSwert Hahn

7
Texts and Translations

March 25, 2012

Jessica Jones, soprano

Er ist gekommen in Sturm und Regen

Er ist gekommen in Sturm und Regen,

ihm schlug beklommen mein Herz entgegen.

Wie konnt’ ich ahnen, daft seine Bahnen

sich einen sollten meinen Wegen.

Er ist gekommen in Sturm und Regen,

er hat genommen mein Herz verwegen.

Nahm er das meine? Nahm ich das seine?

Die beiden kamen sich entgegen.

Er ist gekommen in Sturm und Regen,

Nun ist gekommen des Fruhlings Segen.

Der Freund zieht weiter, ich seh' es heiter,

denn er bleibt mein auf alien Wegen

Liebst du um Schonheit

Liebst du um Schonheit,

o nicht mich liebe!

Liebe die Sonne,

sie tragt ein gold'nes Haar!

Liebst du um Jugend,

o nicht mich liebe!

Liebe der Fruhling,

derjung ist jedes Jahr!

Liebst du um Schatze,

o nicht mich liebe.

Liebe die Meerfrau,

sie hat viel Perlen klar.

Liebst du um Liebe,

o ja, mich liebe!

Liebe mich immer,

dich lieb’ ich immerdar.

He came in storm and rain (Op. 12 No. 2)

He came in storm and rain,

he boldly stole my heart.

Did he steal mine? Did I steal his?

Both came together.

He came in storm and rain

my anxious heart beat against his.

how could I have known, that his path

should unite itselfwith mine?

He came in storm and rain,

Now has come the blessing ofspring.

My love travels abroad, I watch with cheer,

for he remains mine, on any road.

If you love for beauty

If you love for beauty,

oh, do not love me!

Love the sun,

she has golden hair!

If you love for youth,

oh, do not love me!

Love the spring,

it is young every year!

If you love for treasure, 

oh, do not love me!

Love the mermaid, 

she has many clear pearls!

If you love for love,

If you love for love,

love me ever,

I’ll love you evermore!
Lorelei

Ich weifl nicht, was soil es bedeuten 

DaB ich so traurig bin;

Ein Marchen aus alten Zeiten 

Das kommt mir nicht aus dem Sinn.

Die Luft ist kiihl und es dunkelt,

Und ruhig flieBt der Rhein;

Der Gipfel des Berges funkelt

Im Abendsonnenschein.

Die schonste Jungfrau sitzet

Dort oben wunderbar,

Ihr gold’nes Geschmeide blitzet 

Sie kammt ihr gold’nes Haar.

Sie kammt es mit gold’nem Kamme

Und singt ein Lied dabei;

Das hat eine wundersame 

Gewaltige Melodei.

Den Schiffer im kleinen Schiffe

ergreift es mit wildem Weh,

Er schaut nicht die Felsenriffe,

Er schaut nur hinaufin die Hoh.

Ich glaube, die Wellen verschlingen 

Am Ende Schiffer und Kahn;

Und das hat mit ihrem Singen

Die Lorelei getan.

Lorelei I know not, what it is portending 

thatI am so depressed;

a legend from olden days past

will not leave my mind alone.

The breeze is cool and it darkens,

and peaceful flows the Rhine;

the peak ofthe mountain sparkles

with evening

’s setting sun.

The fairest maiden sits perched

right up there wondrously,

her golden jewelry flashes

she combs her golden hair.

She combs with

a comb all golden

and thus she singsa song;

that hasa mysteriously 

tyrannical melody.

The sailor in tiny vessel

is seized witha savage woe,

he sees not the rocky reef edge,

he looks only up toward the height. I think that the waves have devoured

at last the sailor and boat;

and that's the deed, by her singing

the Lorelei has done.

Frauenliebe und leben, op 42

Seit ich ihn gesehen,

Glaub' ich blind zu sein;

Wo ich hin nur blicke,

Seh' ich ihn allein;

Wie im wachen Traume

Schwebt sein Bild mir vor,

Taucht aus tiefstem Dunkel,

Heller nur empor.

SinceI saw him

I believe myselfto be blind,

whereI but cast my gaze,

I see him alone,

as in waking dreams

his image floats before me,

dipped from deepest darkness,

brighter in ascent.

Sonst ist licht- und farblos

Alles um mich her,

Nach der Schwestem Spiele

Nicht begehr' ich mehr,

Mochte lieber weinen,

Still im Kammerlein;

Seit ich ihn gesehen,

Glaub' ich blind zu sein.

All else dark and colorless

everywhere around me,

for the games ofmy sisters I no longer yearn, I would rather weep,

silently in my little chamber,

sinceI saw him,

I believe myselfto be blind.

Er, der Herrlichste von alien,

Wie so milde, wie so gut!

Holde Lippen, klares Auge,

Heller Sinn und fester Mut.

He, the most glorious of all, O how mild, so good!

lovely lips, clear eyes,

bright mind and steadfast courage.

So wie dort in blauer Tiefe,

Hell und herrlich, jener Stern,

Also er an meinem Himmel,

Hell und herrlich, [hoch]1 und fern.

Just as yonder in the blue depths,

bright and glorious, that star,

so he is in my heavens,

bright and glorious, lofty and distant.

Wandle, wandle deine Bahnen,

Nur betrachten deinen Schein,

Nur in Demut ihn betrachten,

Selig nur und traurig sein!

Meander, meander thy paths,

but to observe thy gleam,

but to observe in meekness,

but to be blissful and sad!

Hore nicht mein stilles Beten,

Deinem Gliicke nur geweiht;

Darfst mich niedre Magd nicht kennen,

Holier Stern der Herrlichkeit!

Hear not my silent prayer,

consecrated only to thy happiness, 

thou mays't not know me, lowly maid,

lofty star of glory!

Nur die Wiirdigste von alien

[Soil]

2 beglucken deine Wahl,

Und ich will die Hohe segnen,

[Segnen]3 vide tausendmal.

Only the worthiest of all

may make happy thy choice,

and1 will bless her, the lofty one,

many thousand times.

Will mich freuen dann und weinen,

Selig, selig bin ich dann;

Sollte mir das Herz auch brechen,

Brich,o Herz, was liegt daran?

I will rejoice then and weep,

blissful, blissful I'll be then;

ifmy heart should also break,

break,0 heart, what ofit?
Ich kann's nicht fassen, nicht glauben,

Es hat ein Traum mich beriickt;

Wie hatt er doch unter alien

Mich Arme erhoht und begliickt?

Mir war's, er habe gesprochen:

"Ich bin auf ewig dein,"

Mir war's- ich traume noch immer,

Es kann ja nimmer so sein. O lafi im Traume mich sterben,

Gewieget an seiner Brust,

Den [seligsten]1 Tod mich schliirfen

In Tranen unendlicher Lust.

Du Ring an meinem Finger,

Mein goldenes Ringelein,

Ich driicke dich fromm an die Lippen,

Dich fromm an das ITerze mein.

Ich hatt ihn ausgetraumet,

Der Kindheit friedlich schonen Traum,

Ich fand allein mich, verloren

Im oden, unendlichen Raum.

Du Ring an meinem Finger 

Da hast du mich erst belehrt,

Hast meinem Blick erschlossen 

Des Lebens unendlichen, tiefen Wert.

Ich [werd']1 ihm dienen, ihm leben,

Ihm angehoren ganz,

Hin selber mich geben und finden 

Verklart mich in seinem Glanz.

Du Ring an meinem Finger,

Mein goldenes Ringelein,

Ich driicke dich fromm an die Lippen

Dich fromm an das Herze mein.

I can't grasp it, nor believe it, a dream has bewitched me,

how should he, among all the others,

lift up and make happy poor me?

It seemed to me, as ifhe spoke,

"I am thine eternally",

It seemed-1 dream on and on,

It could never be so. O let me die in this dream,

cradled on his breast,

let the most blessed death drink me up

in tears ofinfinite bliss.

Thou ring on my finger,

my little golden ring, I press thee piously upon my lips

piously upon my heart. I had dreamt it,

the tranquil, lovely dream of childhood, I found myself alone and lost

in barren, infinite space.

Thou ring on my finger,

thou hast taught me for the first time,

hast opened my gaze unto

the endless, deep value oflife. I want to serve him, live for him,

belong to him entire,

Give myself and find myself

transfigured in his radiance.

Thou ring on my finger,

my little golden ring, I press thee piously upon lips,

piously upon my heart.

Helft mir, ihr Schwestern,

Freundlich mich schmucken,

Dient der Gliicklichen heute mir,

Windet geschaftig

Mir um die Stirne

Noch der bliihenden Myrte Zier.

Help me, ye sisters,

friendly, adorn me,

serve me, today's fortunate one,

busily wind

about my brow

the adornment of blooming myrtle.

Als ich befriedigt,

Freudigen Herzens,

[Dem]1 Geliebten im Anne lag,

Immer noch rief er,

Sehnsucht im Herzen,

Ungeduldig den heutigen Tag.

Otherwise, gratified,

ofjoyful heart, I would have lain in the arms ofthe beloved,

so he called ever out,

yearning in his heart,

impatient for the present day.

Helft mir, ihr Schwestern,

Helft mir verscheuchen

Eine torichte Bangigkeit,

DaB ich mit klarem

Aug ihn empfange,

Ihn, die Quelle der Freudigkeit.

Help me, ye sisters,

help me to banish a foolish anxiety,

so that1 may with clear

eyes receive him,

him, the source ofjoyfulness.

Bist, mein Geliebter,

Du mir erschienen,

Giebst du [Sonne, mir]

2 deinen Schein?

LaB mich in Andacht,

LaB mich in Demut,

'y .

[Mich]' verneigen dem Herren mem.

Dost, my beloved,

thou appear to me,

givest thou, sun, thy shine to me?

Let me with devotion,

let me in meekness,

let me curtsy before my lord.

Streuet ihm, Schwestern,

Streuet ihm Blumen,

[Bringt]4 ihm knospende Rosen dar,

Aber euch, Schwestern,

GriiB ich mit Wehmut

Freudig scheidend aus eurer Schar.

Strew him, sisters,

strew him with flowers,

bring him budding roses,

but ye, sisters, I greet with melancholy, 

joyfully departing from your midst.
SiiBer Freund, du blickest

Mich verwundert an,

Kannst es nicht begreifen,

Wie ich weinen kann;

LaB der feuchten Perlen

Ungewohnte Zier 

[Freudenhell erzittern

In den Wimpern mir]1

Sweet friend, thou gazest

upon me in wonderment,

thou cannst not grasp it,

why

I can weep;

Let the moist pearls'

unaccustomed adornment 

tremble, joyful-bright, 

in my eyes.

Wie so bang mein Busen,

Wie so wonnevoll!

WiiBt ich nur mit Worten,

Wie ich's sagen soil;

Komm und birg dein Antlitz

Hier an meiner Brust,

Will in's Ohr dir fliistem

Alle meine Lust.

How anxious my bosom,

how rapturous!

IfI only knew, with words,

howI should say it;

come and bury thy visage 

here in my breast, I want to whisper in thy ear

all my happiness.

Hab' ob manchen Zeichen

Mutter schon gefragt,

Hat die gute Mutter

Alles mir gesagt,

Hat mich unterwiesen

Wie, nach allem Schein,

Bald fur eine Wiege

MuB gesorget sein.

About the signs I have already asked Mother;

my good mother has

told me everything..

She has assured me that 

by all appearances,

soona cradle

will be needed.

WeiBt du nun die Tranen,

Die ich weinen kann?

Sollst du nicht sie sehen,

Du geliebter Mann?

Bleib an meinem Herzen,

Fuhle dessen Schlag,

DaB ich fest und fester

Nur dich drticken mag.

Knowest thou the tears,

that

I can weep?

Shouldst thou not see them,

thou beloved man?

Stay by my heart,

feel its beat,

thatI may, fast and faster,

hold thee.

Hier an meinem Bette

Hat die Wiege Raum,

Wo sie still verberge

Meinen holden Traum;

Kommen wird der Morgen,

Wo der Traum erwacht,

Und daraus dein Bildnis

Mir entgegen lacht.

Here, at my bed,

the cradle shall have room,

where it silently conceals

my lovely dream;

the morning will come

where the dream awakes,

and from there thy image 

shall smile at me.

An meinem Herzen, an meiner Brust,

Du meine Wonne, du meine Lust!

Das Gliick ist die Liebe, die Lieb ist das Gluck,

Ich [hab es]! gesagt und nehm's nicht zuruck.

Hab [uberglucklich]2 mich geschatzt 

Bin uberglucklich aberjetzt.

Nur die da saugt, nur die da liebt

Das Kind, dem sie die Nahrung giebt;

Nur eine Mutter weiB allein

Was lieben heifit und glticklich sein.

O, wie bedaur' ich doch den Mann,

Der Muttergliick nicht fuhlen kann!

Du schauest mich an und lachelst dazu,

Du lieber, lieber Engel, du!

Nun hast du mir den ersten Schmerz getan,

Der aber traf.

Du schlafst, du harter, unbarmherz'ger Mann,

Den Todesschlaf.

Es blicket die VerlaBne vor sich hin,

Die Welt ist leer.

Geliebet hab ich und gelebt, ich bin

Nicht lebend mehr.

Ich zieh mich in mein Innres still zuruck,

Der Schleier fallt,

Da hab ich dich und mein verlornes Gliick,

Du meine Welt!

At my heart, at my breast,

thou my rapture, my happiness!

The joy is the love, the love is the joy, I have said it, and won't take it back.

I've thought myselfrapturous,

but now I'm happy beyond that.

Only she that suckles, only she that loves

the child, to whom she gives nourishment;

Onlya mother knows alone

what it is to love and be happy. O how I pity then the man 

who cannot feela mother'sjoy!

[Thou lookst at me and smiles,

Thou dear, dear angel thou]!

Now thou hast given me, for the first time, pain,

how it struck me.

Thou sleepst, thou hard, merciless man,

the sleep of death.

The abandoned one gazes straight ahead,

the world is void. I have loved and lived,

I am

no longer living. I withdraw silently into myself,

the veil falls,

thereI have thee and my lost happiness,

O thou my world!
Cantique by Maurice Maeterlinck Hymn translation by Helene Lindqvist A toute ame qui pleure A tout peche qui passe

Louvre au sein des etoiles

mes mains pleines de graces

II n'est peche qui vive

QuandP amoura parle

II n'est ame qui meure

QuandTamoura pleure

Et si Eamour s’egare

Aux sendersd’icibas

Ses larmes me retrouvent 

Et nes’egarent pas

Chanson/ Ellea vendu mon coeur by

Camille Mauclair

Ellea vendu mon coeur

Pour une chanson:

Vends mon coeur

a la place,

o colporteur A la place de la chanson

Tes chansons etaint blanches 

La mienne es coleur de sang:

Ellea vendu mon coeur

O colporteur 

Ellea vendu mon coeur 

En s'amusant

Et maintenant chante mon coeur

Sur les places, aux carrefours

Tu ferras pleurer colporteur 

En racontant mon grand amour

Pendant qu'elle fera rire

Les gentsa sa noce venus 

En chantant la chanson pour rire

Pour chi elle ha mon coeur vendu

To all weeping souls

to all sin to pass I open in the midst ofthe stars

my hands full of grace

No sin lives

where love speaks

No soul dies

where love weeps

And iflove gets lost

on the paths ofthe earth

Its tears will find me

and not go astray

Song / She sold my heart fora song

translation by Helene Lindqvist

She sold my heart fora song

Sell my heart at the square,

dealer,

in place ofthe song

Your songs were white

My song is the color ofblood

She sold my heart,

dealer,

for the fun ofit

And now my heart sings

at the squares, at the crossroads 

You will make people cry,

dealer,

telling the story ofmy vast love

Meanwhile she will entertain the people 

attending her wedding 

singing the funny song

for which she sold my heart

Emily Dickinson Poems

Dear March

— Come in—

How gladI am—

I hoped for you before—

Put down your Hat—

You must have walked—

How out ofBreath you are—

Dear March, Come right up the stairs with me—

I have so much to tell—

I got your Letter, and the Birds—

The Maples never knew that you were coming — till I called I declare — how Red their Faces grew —

But March, forgive me— and

All those Hills you left for me to Hue—

There was no Purple suitable—

You took it all with you—

Who knocks? That April.

Lock the Door—

I will not be pursued—

He stayed awaya Year to call

When

I am occupied—

But trifles look so trivial

As soon as you have come

That Blame is just as dear as Praise

And Praise as mere as Blame—

Heart, we will forget him!

You and I, to-night!

You may forget the warmth he gave, I will forget the light.

When you have done, pray tell me,

ThatI my thoughts may dim;

Haste! lest while you're lagging, I may remember him!

When they come back—if Blossoms do—

I always feela doubt

IfBlossoms can be born again

When once the Art is out—

When they begin, ifRobins may, I always had a fear I did not tell, it was their last Experiment 

LastYear,

When it is May, if May return,

Had nobodya pang 

Lest ina Face so beautiful 

He might not look again?

IfI am there—One does not know 

What Party

—One may be 

Tomorrow, but ifI am there 

I take back allI say—

Going to heaven! I don't know when,

Pray do not ask me how,—

Indeed, I'm too astonished 

To think of answering you!

Going to heaven!—

How dim it sounds!

And yet it will be done

As sure as flocks go home at night

Unto the shepherd's ann!

Perhaps you're going too!

Who knows?

If you should get there first,

Save just

a little place for me

Close to the twoI lost!

The smallest "robe" will fit me,

And just a bit of "crown";

For you know we do not mind our dress

When we are going home.

I'm gladI don't believe it,

For it would stop my breath,

And I'd like to looka little more 

At such

a curious earth!

I am glad they did believe it

WhomI have never found

Since the mighty autumn afternoon I left them in the ground.
Will there really be a “Morning?”

Is there such a thing as “Day?”

Could I see it from the mountains 

If I were as tall as they?

Has it feet like water-lilies?

Has it feathers like a bird?

Is it brought from famous countries

Ofwhich I have never heard?

Oh, some scholar! Oh, some sailor!

Oh, some wise man from the skies!

Please to tell a little pilgrim

Where the place called "Morning" lies!

I'm Nobody! Who are you?

Are you - Nobody -too?

Then there's a pair of us!

Don't tell! they'd advertise - you know!

How dreary -to be - Somebody!

How public -like a Frog -

To tell one's name -the livelong June -

To an admiring Bog!

She died—this was the way she died.

And when her breath was done

Took up her simple wardrobe 

And started for the sun.

Her little figure at the gate

The Angels must have spied,

Since I could never find her 

Upon the mortal side.

If I can stop one heart from breaking,

I shall not live in vain;

If I can ease one life the aching,

Or cool one pain,

Or help one fainting robin 

Unto his nest again,

I shall not live in vain.