Eventually, under Fascism, Sardinia was made to align with the Italian national system, by means of cultural assimilation via the combined role of the school and the party system and repression of the local cultural expressions, including Sardinia's mask festivals and improvised poetry competitions, and a large number of Sardinian surnames were changed to sound more Italian. Following an argument between the Sardinian poet Antioco Casula (also known as "Montanaru") and the fascist journalist Gino Anchisi, who stated that «once the region is moribund or dead, so will the dialect "(sic)"», the latter managed to have Sardinian banned from the printing press, as well. It is by Montanaru that, for the first time in the 20th century, the significance of the Sardinian language was tied to the practices of cultural resistance of an indigenous ethnic group, whose linguistic repertoire had to be introduced in school to regain a dignity perceived to have been lost. Another famed poet from the island, Salvatore ("Bore") Poddighe, fell into a severe depression and took his own life a few years after his masterwork ("Sa Mundana Cummedia") had been seized by Cagliari's police commissioner. When the use of Sardinian in school was banned in 1934 as part of a nation-wide educational plan against the alloglot "dialects", the then Sardinian-speaking children were confronted with another means of communication that was supposed to be their own from then onwards. On a whole, this period saw the most aggressive cultural assimilation effort by the central government, which led to an even further sociolinguistic degradation of Sardinian. However, the Sardinian Anthem of the once Piedmontese Kingdom was a chance to use a regional language without penalty: as a royal tradition, it could not be forbidden.