The term “squeamish” has been employed in literature as a versatile descriptor of sensitivity and moral or physical revulsion. In early American and European prose, writers like Thoreau used it to downplay over-sensitivity in matters of social customs, suggesting that one should not be overly squeamish when addressing proper manners [1, 2]. At the same time, literary giants such as Goethe and Thackeray invoked the word to underscore both lyrical charm and moral criticism, respectively, with Goethe’s playful verse contrasting natural conditions with human fragility [3] and Thackeray critiquing the prudishness of certain moralists [4]. Later, authors including Dostoyevsky, Wollstonecraft, H. G. Wells, and even Defoe continued to employ “squeamish” either as a straightforward commentary on physical repulsion or as a metaphor for a delicate disposition toward human behavior, whether in matters of anatomy or otherwise [5, 6, 7, 8, 9, 10, 11, 12]. Even in instructional texts like Carnegie’s work on public speaking, the term is examined alongside other rhetorical devices, highlighting its enduring relevance and nuanced implications within literary discourse [13].