The word “lea” is remarkably versatile across literary texts, serving both as a literal pastoral landscape and as a marker of identity or locale. In many of Robert Burns’s poems, for instance, “lea” evokes the open, grassy fields of rural Scotland, lending a natural and bucolic imagery to his verse ([1], [2], [3], [4]). Meanwhile, Howard Pyle’s works frequently imbue “lea” with a proper name quality, as seen in his recurring character Sir Richard of the Lea, which not only identifies a person but also hints at a connection to a particular region or tradition ([5], [6], [7], [8], [9]). In addition, the term appears in rhythmic refrains such as “Can Ye Labour Lea?” ([10], [11], [12]), blending its literal and figurative elements, and even finds variant uses in translations and historical texts ([13], [14], [15]). Together, these examples illustrate how “lea” functions as both a descriptive term for landscape and a culturally resonant signifier in literature.