Anton Webern is the only composer among the Second Viennese School who maintained vocal composition as a consistent thread throughout his entire career. His five late serial vocal works, all set to texts by Hildegard Jone, achieve a profound unity of technical rationality and spiritual faith through the integration of twelve-tone pitch organization with poetic structure. This paper takes three representative late works by Webern as objects of analysis, focusing on the organizational logic of serial pitch, vertical harmonic structures, and textural presentation, in order to examine how the composer transforms the binary, cyclical, and palindromic features of Jone's poetry into the organizing principles of musical form. It thereby demonstrates that Webern's late vocal compositions not only accomplish technically a deep absorption and reshaping of poetic texts within the twelve-tone system, but also constitute aesthetically a response of modernity to the Romantic ideal of “musical poetics”-particularly the proposition advocated by Novalis and Schlegel that “poetry should be like music”.