Chapter 3 proceeds to investigate the concept of enigmatical poetry in the wider context of autonomous art. In ‘Commitment’, an essay written seven years before Aesthetic Theory, Adorno contrasts ‘committed’ literature that perceives art in an ‘extra-aesthetic’ fashion, with ‘drossless works’ that resist the ’spell’ of empirical reality. I therefore engage first with two ‘committed’ works, Tony Harrison’s verse plays THE KAISERS OF CARNUNTUM (1996) and THE LABOURERS OF HERAKLES (1996), in order to focalise Hill’s ruminations over elusive moments of awe and grace in his collection THE ORCHARDS OF SYON (2002). As Hill’s workbooks held in the Brotherton Library indicate, his enigmatical poetry partly responds to Paul Celan’s Atemwende(1967), transforming the Holocaust poet’s later minimalism into Hill’s loquacious assimilation of, and departure from, the modernist antecedent.