so i was just looking at harry's songs and i noticed something. you know how with walls we noticed the entire album doesn't have any pronouns? harry's writing too has that. his songs that have been given a stunt narrative have pronouns in them (ex - cherry, carolina) but rest everything don't have that (ex - adore you, golden, sweet creature, two ghosts, sunflower vol. 6, canyon moon). the only exception to this is she, but then again it's interspersed with gender identity. however, one thing i've always seen and loved about harry's writing is that his songs are so ambiguous and metaphorical in nature and it's always open to interpretation and multiple meanings can be derived from it. and once again, that's a thing persistent with his songs, except for the ones with the stunt narrative - these tell a story as is, in chronological order, they tell us exactly what happened, almost as if...he made those stories up. even the songs he wrote back in 1d also have the metaphorical tinge to them (happily, if i could fly, olivia, stockholm syndrome) and they make no sense on the surface layer, but when you unveil it and dissect it, you get what he's talking about. maybe it's a thing that's already been talked about, but i just noticed this and i think that harry's such a clever songwriter and this very prominent difference between stunt songs and his songs show exactly how skilled and talented he is as a songwriter