This Paper attempts to consider the allegory of history with dialectic and tragedy in Martin Buber's thought, addressing his chronicle novel Gog und Magog [For the Sake of Heaven]. This work was criticized by some scholars for its deviate interpretation of Hasidism, but Buber neither wrote it arbitrarily nor gave a definitive expression to his own teaching. He insisted that it was based on the objective elements in Hasidism and that he just made the inner dialectic in its movement recognizable to people of today by tracing it.<br>Buber dramatically portrayed this dialectic as conflict between two groups: the first like Rabbi Jaacob Yitzchak of Lublin, the Seer, directly aimed to hasten the end and engage in God's redemption by magical Kabbalah, the second like his student Rabbi Jaacob Yitzchak of Pžysha, the Yefudi, devoted rather himself to hallowing the everyday and to whole Turning (Umkehr) to God in this world. Such dialectic thought pervades his entire work, not only his Hasidic literature, but also his well-known dialogical philosophy and principles of the Bible translation.<br>Buber, however, emphasized that in any case such dialectic must be concluded with tragedy. I analyze the reason why he described the dialectic as tragedy and interpret such portrayal related with his Messianic understanding of history progressing in secret: the Messianic Dialectic. Through its portrayal, not only did Buber criticize the modern idea of history as homogeneous continuous series of moments, but also proclaimed a desirable attitude to the history and redemption to confirm a secret meaning of one's own fate by taking proper responsibility to turn to God.