The word “inside” in literature functions both as a literal descriptor of physical spaces and as a metaphor for emotional or psychological states. For instance, writers use it to detail tangible interiors—a room’s layout or the hidden structure of an object, as seen when Verne describes the subtle textures “inside each episode” ([1]) or when Pigafetta contrasts a shell’s inner whiteness with its spotted exterior ([2]). At the same time, “inside” carries a weightier, almost introspective quality, inviting readers to peer into the depths of a character’s soul or secret inner life; Chekhov, for example, uses the term to denote an internal landscape of emotion and thought ([3]), while Fitzgerald hints at forces battling within in a moment of inner conflict ([4]). In this way, literature leverages “inside” to bridge the external and internal worlds, enriching narratives with layers of meaning that are as physical as they are symbolic.