The aim of this paper is to demonstrate that in the thought and poetry of Friedrich Hölderlin the Gottesfrage is deeply connected with questions concerning aesthetics and politics. The paper argues that for Hölderlin poetry represents a privileged access to the divine. In this sense, poetry possesses an intrinsically political power, as it is the only medium capable of preserving a bond with the divine in a secularized society. This argument will be developed in two steps. First, it examines the theological nature of the political role of poetry in Hölderlin's thought. Poetry requires a form of absolute trust: one must "fall" into poetry as into "Openness," or as into the "night," echoing the images of the poem 'Brod und Wein'. For Hölderlin, the divine is too vast and too infinite not to constitute the most radical dimension of both individual and collective life. Poetic practice thus carries a transformative force that mirrors the political dimension that theology can assume. Second, the paper explores how Hölderlin attempted to give concrete form to this vision. His project included reflections on aesthetic education, his own activity as a tutor in aristocratic households, and especially the planned literary journal 'Iduna', which was intended to realize his cultural and pedagogical ideals. Through these efforts Hölderlin invites us to rethink the pedagogical system, in light of the central role that aesthetics should assume within social life, particularly in our increasingly violent historical context. As highlighted by Martin Heidegger, the challenge is to understand how aesthetics, in its contact with the divine, might open the possibility of a renewed form of community. Hölderlin's response, however, is not a call for violent political revolution, but rather an invitation to embrace the tenderness of poetry, which he famously described as 'the most innocent of all occupations'.