The term “canto” has long served as a structural and thematic unit in literature, particularly in epic and narrative poetry. Originating in Italian poetic traditions—as seen most famously in Dante Alighieri’s Divine Comedy, where cantos rigorously partition the journey through realms of the afterlife ([1], [2], [3])—the form has been employed to condense vast stories into numbered, coherent segments. Beyond Dante, authors like Lord Byron in Don Juan ([4], [5], [6], [7], [8], [9]) have used cantos to structure satirical and expansive narratives, while even works attributed to less expected figures, such as texts by Thomas Jefferson and adaptations by Pushkin, incorporate cantos for their rhythmic and organizational qualities ([10], [11], [12], [13], [14], [15]). In addition, poets like Walter Scott have adopted the canto form in works like The Lady of the Lake ([16], [17], [18], [19]), demonstrating the versatility of the term—from its implicit musical connotations in phrases like “canto fermo” ([20]) to its clear function as a signpost in epic storytelling.