The Madrigal to Nefertiti, because of its relation to the form of madrigal, can be seen as an outlier in the context of Sereni’s style, even more so if we consider his later poetry. Why exactly is this text peculiar? And why can it be described as obscure? This paper first analyses its metrical, syntactic and poetic structures; then it identifies some specific formal ambiguities, which then the article tries to explain by a possible echo from a poem by Saba, Ulysses, as well as a letter written by Sereni himself. Finally, the article connects these hypotheses to Horkheimer’s and Adorno’s interpretation of the myth of Ulysses. This combined analysis results in the possibility to gain a holistic account of both the author’s grammatical imagery, as well as the aesthetic object this text represents.