The term "pallor" in literature has been wielded with remarkable versatility, often serving as a subtle indicator of both physical condition and emotional undercurrents. In many works, pallor is not merely a description of a color but a device to evoke a sense of dread, exhaustion, or inner turmoil. For example, characters whose visages show a deathly pallor—as seen in Bram Stoker’s depiction in [1] or the ghastly hue in Poe’s narratives in [2] and [3]—often mirror a state of dread or supernatural affliction. Meanwhile, in more nuanced portrayals such as Olive’s undeterred response to her icy complexion in [4], or the poignant association of pallor with the weight of suppressed emotions in [5], the term transcends mere physical description. Even in lighter contexts, as in the subtly altered complexion that enhances contrast in Edith Wharton’s work ([6]), pallor serves as an essential marker of a character’s internal condition. In this way, authors ranging from Edgar Allan Poe and Alexandre Dumas to Bernard Shaw and beyond, employ 'pallor' to enrich the texture of their narratives by linking outward appearances to deeper, often troubled, inner lives.