Composed between 1906 and 1908, Webern’s Dehmel songs have turned into something of a playground for scholars keen to unravel the origins of atonality. Drawing on hitherto unexamined sketches, this chapter offers new insights into the harmonic strategies and devices through which Webern interpreted Dehmel’s poetry. Analytical focal points to be considered include Webern’s use of modal mixture, common-tone tonality, and the SLIDE transformation. In particular, it is argued that, in these songs, voice leading is roped into the business of, quite literally, ‘envoicing’ absence. Extending the scope of these considerations, the chapter concludes with a discussion of Webern’s George setting Entflieht auf leichten Kähnen, completed in 1908, with a focus on the way the choir renders the poem’s semantic juxtaposition of ‘sorrow’ and ‘spring’ in terms of a double-bind. In this way, this chapter provides fresh glimpses into the complex relationship between poetological and harmonic ideas in Webern’s compositional imagination.