The word “steppe” is employed in literature as a multifaceted symbol that evokes an expanse of endless, often daunting, natural space which mirrors both the external landscape and the internal musings of its characters. In Chekhov’s many stories, for instance, the steppe appears repeatedly—as in the haunting refrain “the steppe, the steppe” ([1], [2], [3])—casting a spell of both isolation and relentless continuity, while at other moments its barren desolation reflects inner weariness or existential loss ([4], [5], [6]). Elsewhere, the steppe takes on a more vibrant, almost mythic quality: it is the realm where fiery horses gallop across a boundless plain ([7], [8]), and where the interplay of light and wind conjures scenes of epic vastness and ceaseless motion ([9], [10], [11]). Whether evoking the bleak, stifling sameness of a deserted wilderness or offering a romantic stage for heroic ventures, the steppe comes to embody the tension between the eternal rhythms of nature and the fleeting, often troubled, human condition ([12], [13], [14]).