12–19.[87] This wartime theme of wandering in search of home ties in with two intricately involved concerns more broadly evident in Webern's work: first, the death and memory of members of Webern's family, especially his mother but also including his father and a nephew; and second, Webern's broad and complex sense of rural and spiritual Heimat.[88] Their importance is marked by Webern's stage play, Tot (October 1913), which, over the course of six alpine scenes of reflection and self-consolation, draws on Emanuel Swedenborg's notion of correspondence to relate and to unite the two concerns, the first embodied but otherworldly and the second concrete if increasingly abstracted and idealized.[89]