AbstractWhen Hölderlin argues in favour of modernity in the Querelle des Anciens et des Modernes, he rejects the claim that the highest form of art is tragedy and proclaims the primacy of poetry. However, Hölderlin frames a very different concept of poetry from Hegel, for instance, one of the most prominent representatives of the notion of subjectivity. For Hölderlin, poetry is not the medium of subjective self‐reassurance, but first and foremost the genre of memory, of patient endurance ‘when times are hard’ and of writing against ‘eccentric excitement’. It is through writing that he expects to achieve a revolution in future ‘modes of thought’. Hölderlin wants not only to define a poetics of genre for modernity but also to imbue it with an autonomous aesthetic profile, independent of the worn‐out language of tradition. This is why the language of modern poetry can only be one of obscuritas. This struggle for a genuinely modern mode of speaking leads to changes in the old modes, to alienation from them and, as a result, to the estrangement of recipients. Firstly, this article will reconstruct how the paradigmatic genre of modernity shifts from tragedy to poetry. Secondly, it will analyse Hölderlin's nexus between critiques of the subject and critiques of poetic language and then trace the paths that lead from it to Adorno.