The term “effulgence” has been employed by writers to evoke both the literal brightness of natural light and a metaphorical illumination of the human spirit. In classical texts such as Lucretius’s work, the word delineates the early, almost primordial, rays of the sun—a brilliance that, once dispersed, is absorbed back into its source ([1], [2]). Later, Romantic and modern authors extend its meaning: Shelley uses it to mirror the fluctuating nature of human emotions and states ([3]), while Pushkin and Whitman evoke a paler, more serene radiance in their portrayals of the moon and night ([4], [5]). In the imaginative realms of Joyce and Verne, “effulgence” enriches sensory landscapes, from the silver glow of moonlight to the overwhelming brightness that forces characters to close their eyes ([6], [7], [8], [9], [10]). Philosophers and reformers like Nietzsche and William James further employ the term to signify an inner, almost sacred, light—whether as a beacon of moral clarity or divine inspiration ([11], [12]). Even in narratives of human connection, as seen in Hawthorne and Chopin’s works, the word illuminates the deep, emotional resonance of experience ([13], [14]).