written while Sibilla was on holiday at the Villa La Topaia in Borgo San Lorenzo and Campana was in a critical condition at Firenzuola, recovering from a partial paralysis on his right side. In 1918, Campana was once again admitted to a psychiatric hospital in Castel Pulci, in Scandicci (Florence), where he was to remain until his death. The only surviving accounts of this period of Campana's life are in the interviews with the psychiatrist Carlo Pariani, who confirmed the irrefutable diagnosis of Campana's mental state: Disorganised schizophrenia - an incurable and extremely serious form of schizophrenia. Dino Campana died, seemingly from sepsis on March 1, 1932. One theory is that the infection was caused by a barbed wire injury during an escape attempt. The following day, the body of Campana was buried in the cemetery of San Colombano in Badia a Settimo, Scandicci. In 1942, on the behest of Piero Bargellini, the remains of the poet were given a more dignified burial and the body was transferred to the chapel below the bell tower of the Church of San Salvatore. During the Second World War, on August 4, 1944, the retreating German army blew up the bell tower, destroying the chapel. In 1946, following a ceremony attended by numerous Italian intellectuals, including Eugenio Montale, Alfonso Gatto, Carlo Bo, Ottone Rosai, Pratolini and others, the bones of the poet were placed inside the church of San Salvatore Badia a Settimo, where they remain today. Poetry Campana's poetry is a new poetry in which sounds, colors and music are blended in a powerful vision. The line is undefined, an expressive articulation of monotony, but at the same time full of dramatic images of annihilation and purity. The title of Campana's only published work alludes to the Orphic hymns, a literary genre developed in ancient Greece between the second and third century AD and characterized by a non-classical theogony. Also prayers to the gods (especially the god Phanes) are characterized by spells to prevent evil and misfortune. Key Themes One of the major themes of Campana, which is present at the beginning of the "Orphic Songs" in the early prose parts - "The Night", "Journey and Return" - is the obscurity between dream and wakefulness. Adjectives and adverbs return with the repetitive insistence of a dreamer's speech: a dream, however, that is interrupted by startling shifts in tone (as in the poem