The word "seeing" in literature performs a dual role: it often functions as a direct reference to the act of perception while also serving as a causal connector. Authors use “seeing” both to vividly describe what characters observe and to justify or explain actions. For instance, in James Joyce’s work, “seeing” prompts a character’s response when the old woman beckons him ([1]), and in other instances it underscores cause and effect, as when a character infers her lack of pursuit because she received no encouragement ([2]). In sacred texts and classics alike, “seeing” is employed to evoke immediate visual experiences—from witnessing miracles ([3]) and expressions of delight ([4]) to recognizing danger or a significant change in circumstance ([5], [6]). Moreover, “seeing” helps transition smoothly between observation and reaction, linking narrative details to underlying thoughts or emotions (as in [7], where a character notes the impact of another’s indifferent laugh). Overall, this participial construction enriches storytelling by blending sensory perception with implicit reasoning, lending both immediacy and reflective depth to the narrative.