## 5 Conclusions and Limits  
Based on the experimental objectives outlined at the end of the introduction, the conclusions are summarised below:  
* The comparison between MOF and the structure of the Divina Commedia concerning the groups (LS-SS; AOT-NA) shows how the participants' expertise influences the emotions of JOY and FEAR: LSs show more JOY and FEAR towards the poem. Whereas AOTs express more NEUTRALITY towards listening than NAs. In general, listening to MOF is considered more INTENSE, while PLEASANTNESS is not influenced by the mode but by the structure of the work. POSITIVITY is modulated by expertise, while arousal INTENSITY is by the alexithymia factor.
* Considering only auditory stimulation and voice characteristics, besides the greater JOY for listening and NEUTRALITY towards the male voice expressed by LSs, SURPRISE is modulated by alexithymia, whereas the structure of the poem modulates DISGUST and SADNESS. Subjectively, when listening, the female acting voice is perceived as more PLEASANT as well as being considered of greatest arousal INTENSITY.  
Our study shows how expertise and difficulties in processing emotions play an important role in the enjoyment of poetic art, suggesting that prior knowledge of the artistic work enables a deeper emotional experience with it by assuming learning support. On the other hand, listening to poetry seems to be capable of vibrating the soul strings of subjects with alexithymia traits, offering hints for possible art-therapeutic paths.  
Although the work offers significant results, they should be further investigated on a larger sample and through physiological techniques such as electroencephalography and HR-GSR combination, accompanied by additional psychodiagnostic tests.  
Concluding, the present study, unique in its use of modern emotional facial recognition technology, demonstrates the emotional impact of ancient and universal poetry on current students during complicated times such as the pandemic.  
Conceptualization, F.B., G.C. and B.M.S.I.; methodology, B.M.S.I. and G.C.; software, S.M., A.V. and A.G.; formal analysis, B.M.S.I. and G.C.; investigation, B.M.S.I., G.C., S.M. and S.P., resources, S.P. and S.F.; data curation, S.M. and B.M.S.I.; writing--original draft preparation, B.M.S.I.; writing--review and editing, B.M.S.I. and G.C.; visualization, B.M.S.I.; supervision, F.B. and P.C.; project administration, F.B. funding acquisition, F.B. and P.C. All authors have read and agreed to the published version of the manuscript.  
This research was funded by \"Ricerca di Ateneo 2021\" grant from the Sapienza University of Rome.  
The study was conducted according to the guidelines of the Declaration of Helsinki and approved by the Institutional Ethics Committee of Sapienza University (protocol code RM11916B5 ADDCB0B).  
Informed Consent Statement: Informed consent was obtained from all subjects involved in the study.  
The data presented in this study are available on request from the corresponding author without undue reservation.  
Authors thank all participants and professional actors specialized in the field, [PERSON] and [PERSON], who gave voice to the Divina Commedia cantica.  
The authors declare no conflict of interest.