Against the right hand, which sings in a large, continuous flow, grouping four measures together, the left-hand accompaniment, with its two-note slurs, seems to resist moving forward easily. It is advisable to play while feeling this tension. Performers should reflect on various emotions, such as the inability to accept separation or a sense of frustration, and empathize with the sentiment. For the first beat of the left hand, sustain the note sufficiently, feeling a slight pull backward (or to the left in terms of hand movement), and also perceive the descending bass line. Connect the first and second beats of the left hand well, with a slight overlap being ideal. Be careful not to make the second beat too short, which could result in a light tone. From measure 9, the dynamic becomes mf, and the emotional expression becomes more overt than before. Allow it to sing fully. In this piece, the E minor tonic appears as a VI chord in measure 8 and in first inversion in the second-to-last measure, with no perfect cadence until the final chord. To me, this also seems to reflect the protagonist's unresolved feelings about the separation.