Aesthetics and tragedy of the revolution: the views of Georg Lukacs in the "Moscow" period of the 1930th

The article is devoted to understanding the dialectic of the revolution in the aesthetic works of Georg Lukacs of the 1930s. In contrast to the “ultra-revolutionary” messianism of “History and Class Consciousness”, in the Moscow period of his work, Lukacs addresses the problem of the tragedy of the revolution, offering a “Shakespearean” look at the revolutionary drama. An important place in the works of “Moscow” Lukacs takes a search for a “middle path” in the history of culture, which overcomes the extremes of the historical era and opens up the possibility of “mutual understanding”. This search is carried out, in particular, in his fundamental work “The Historical Novel”. The author pays special attention to the essay of Lukacs “Hölderlin’s Hyperion”, which considers the ideological positions of Hölderlin and Hegel as an expression of two opposite strategies of understanding the French Revolution and post-revolutionary reality (Thermidor). It is shown that through the comprehension of these two strategies, Lukacs is trying to understand the contemporary tragic reality of the 1930s.