The term "interlude" appears in literature with a range of functions—from a brief pause in the narrative to a formal structural division. For instance, James Joyce in Dubliners employs it to evoke a transient moment of sensory pleasure, as when whisky falls softly into glasses ([1]). In theatrical works by Molière, the interlude is marked with precision, often denoted by numbered entries that punctuate the main action, such as the “FIRST INTERLUDE” and “SECOND INTERLUDE” ([2], [3], [4], [5], [6], [7]). E. M. Forster’s Howards End uses it as a narrative bridge that both interrupts and enhances the unfolding story, as seen in the events of elephants dancing and the closing of an interlude ([8], [9]). Authors like Conrad and Hawthorne employ the term to signal a fleeting, sometimes symbolic, diversion from the central narrative, hinting at deeper emotional undercurrents ([10], [11]). In the works of Kate Chopin and F. Scott Fitzgerald, the interlude carries connotations of both musicality and irony, offering a gentle melodic pause or a dampened symbolic moment within the larger tapestry of life ([12], [13], [14], [15]). Finally, in both dramatic and narrative contexts, writers such as Ben Jonson and Dickens use interludes to introduce light-hearted or comic acts, effectively enriching the dramatic structure of their works ([16], [17], [18]).