The term "circumlocution" is often employed in literature to denote an indirect or roundabout way of expressing ideas, a stylistic choice that authors have both embraced and critiqued. For instance, Benito Pérez Galdós uses it almost interchangeably with "roundabout way" to highlight the circuitous nature of speech [1], while Alexandre Dumas tersely condemns its use in dialogue as an annoyance [2]. Ben Jonson even lists it among other expressions such as "beating about the bush" to illustrate various modes of conveying details [3, 4]. In contrast, characters like Tom in George Eliot's work proudly eschew circumlocution in favor of direct speech, emphasizing clarity [5, 6]. Meanwhile, Edgar Allan Poe and Alexander Pope reveal its double-edged capacity to both entertain and obfuscate by invoking it as a tool to mystify or embellish narratives [7, 8]. Finally, writers like William James and Nietzsche deliberately reject circumlocution when advocating for unambiguous communication, underscoring its controversy in literary discourse [9, 10].