The use of the word "ribald" in literature has long been associated with humor that is irreverent, coarse, and often bawdy. In Ibsen’s work [1] it describes frivolous, silly talk that underlines the character's indulgence in unrefined banter, while Twain [2] employs it to characterize a soldier whose life is caught between the profane and the spiritually transformed. Bram Stoker uses the term twice—first to evoke a ribald laugh that hints at a mix of menace and mischief [3], and later to convey a playful, sexually charged tone in a character’s response [4]. Joyce [5], meanwhile, applies the adjective to a facial expression that carries a hint of impudent cheer, and Dante [6] calls upon ribald figures in a context that borders on the mythical and the unorthodox. Rabelais [7] associates ribaldity with popular, irreverent songs, which is echoed in Shaw’s [8] and Riis’s [9] depictions of characters who revel in audacious, coarse humor. Even in Homer’s epic narrative [10], the term is used to describe a character whose behavior reflects a fun-loving, unrestrained nature. Collectively, these examples reveal how "ribald" has been fluidly adapted to describe anything from crude jokes and indecent laughter to playful defiance of societal norms.