Writing According To the Emotions.

So, yeah, thanks once more. Angel, I just wanted to add to you this, that silences that you heard in between, that is the cantata. That cuts off the one movement from the next movement.

So, in the cantata, you write a scene per movement. So, one location, one centre core, you know, kind of like writing a movie script. So, you kind of stick to this is the emotion of this movement.

This is the emotion of this movement. And then you subtly change the motions of each movement. And that's why it ties in with classical music.

So, in classical music, you have all these different emotions that are carried into the same linear fashion of the overall flow. But it is through the various movements that you kind of pinpoint what is the exact emotion for this. Whereas in a normal poem, you have a central emotion.

So, the entire poem kind of carries one central emotion in majority of cases. You can fluctuate, you can change your pace, you can, you know, change the emotional kind of weight of, you know, the stanzas and so forth. But the cantata kind of gives you that freedom of really reinventing the next emotion of the next movement.

And this is why it is such an old, old, old style. And it's kind of gotten lost in modern poetry. And that's why I've picked that style.

It's actually a musical style. But the music jumps to the poetry, not vice versa. So, you're not writing according to a specific genre, you are writing according to the emotions.