The word “culprit” has been used in literature with remarkable versatility, often carrying both literal and metaphorical connotations. In some works it directly denotes a person responsible for a misdeed, as in the suspenseful revelations found in mystery and adventure narratives—for instance, Doyle’s Sherlock Holmes identifies the wrongdoer with clinical precision [1] and Dumas’s characters are frequently labeled as the guilty party [2, 3]. In other texts, however, the term acquires a more ironic or morally charged dimension; Dickens, for example, employs it in "Nicholas Nickleby" where it nearly becomes a byword for any character drawing attention, whether or not true guilt is at hand [4], and Wharton uses it to highlight internal family or societal conflicts with subtle critique [5]. Across these varied contexts—from the straightforward accusation in "The Story of My Life" [6] to the more complex, even empathetic usage in Harper’s narratives [7, 8]—“culprit” consistently enriches the narrative, prompting readers to question who is to blame and why, and thereby deepening the moral undertones of the stories.