The word “spinster” in literature has been employed to convey a spectrum of character traits and societal attitudes towards unmarried women. In some narratives, such as the Philippine Folk Tales [1], the term simply denotes a woman engaged in everyday rural life, performing routine tasks without added moral judgment. In contrast, many Victorian works, particularly Thackeray’s Vanity Fair [2, 3, 4, 5, 6, 7, 8, 9, 10, 11], use "spinster" as a marker of both social isolation and quirky individuality—imbuing the character with a mix of sympathy, satire, and sometimes overt criticism. Louisa May Alcott’s portrayals [12, 13] further complicate the image by highlighting personal loneliness alongside resilience. Even in works on etiquette, such as Emily Post’s [14, 15], the term is appropriated with a measure of respectability, showing that its connotations could be reimagined beyond mere derision. Additionally, satirical and allegorical uses in texts like La Fontaine’s Fables [16, 17] demonstrate that the spinster figure could also serve as a literary device to critique or humorously reflect on human behavior.