Literary authors have long employed the idea of the epitaph—not merely as a literal inscription on tombs but as a concise, evocative commentary on life, character, or even collective judgment. In some classical and historical texts, epitaphs serve the traditional role of memorializing individuals, as seen in Vasari’s lyrical tributes to figures like Cimabue ([1], [2], [3], [4]), or in commemorations by figures like Pope and Milton ([5], [6], [7]). Yet other writers expand the concept into a metaphorical space: for instance, Robert Burns’s numerous epitaphs often blend humor, pathos, and pointed social commentary ([8], [9], [10], [11]), while James Joyce subverts the form by using it self-referentially to epitomize his characters’ lives or even his own fate ([12], [13], [14], [15]). The term “epitaph” thus functions in literature not only as a marker of death but also as a versatile literary tool—a brief, memorable statement that encapsulates essence, judgment, or irony about a person, event, or even a nation ([16], [17], [18]).