The word "smelt" in literature often functions as a vivid sensory bridge that connects readers to detailed atmospheres—sometimes fragrant, other times repugnant, and occasionally even metaphorical. Many authors harness its evocative power to establish a scene through smell: Chekhov’s characters encounter everything from the delicate aroma of lilies-of-the-valley [1] to the pervasive staleness of rooms that “smelt of medicine” [2], while Dickens and Joyce use it to emphasize both the mundane and the profound, as in a room imbued with scents of smoked fish [3] or the falling-away of substance in a nature “smelt” anew [4]. In some contexts, “smelt” transcends mere olfactory description and veers into the figurative—a chemical transformation or an ironic comment on authenticity, as when objects or persons are discerned by the very odor they emit [5, 6]. This multiplicity of uses—from describing the sweet perfume of roses [7] to the acrid tang of carbolic acid in a grim clinical setting [8]—underscores its versatility. As such, “smelt” remains not only a marker of sensory detail but also a literary tool for evoking mood, character, and context, its deployment as rich and varied as the scents it can describe [9, 10, 11].