Information about the author:
Cesare G. De Michelis
Cesare G. De Michelis, Professor Emeritus, Università degli Studi di Roma Tor Vergata, Via Columbia, 1, 00133 Rome, Italy.
At the beginning of the 20th century M. Gorky’s reputation was growing, most of all between the younger authors: A. Beltramelli made a literary falsification and published his novel Fedor Dobriski as his own translation of a Gorky novel. Early, in 1902, Gian Pietro Lucini drew one of the first Gorky’s portrait, and few years later he wrote with I. Cappa the drama Il tempiodella Gloria (1905), describing him as the ruler of the coveted synthesis between political and artistical revolution. When in Italy, Gorky met many italian intellectuals, also Beltramelli; Lucini, who was one of the first supporter of Marinetti, passed to the latter the idea of Gorky as a rebell, and also A. Gramsci spoked of the Marinetti’s destroing capacity as his more relevant feature. Gorky knew Lucini and Beltramelli, also Pascoli, d’Annunzio, but he was not engaged with futurism: it would had been possible, but didn’t happened, and this opportunity is a few studied question of the modernism.
Keywords: Gorky, Italy, futurism, A. Beltramelli, D.P. Lucini, I. Cappa, “Temple of Glory”, Marinetti, A. Gramsci, d’Annunzio, Pascoli.