The word “resemblance” has long served as a versatile tool in literature, used to draw comparisons ranging from concrete physical likenesses to more abstract similarities in thought, character, or structure. In some works, it marks a single unifying thought or characteristic—as when Chekhov describes the central point common to all ideas ([1], [2]). In other texts, it bridges the gap between the tangible and the metaphorical: Dickens and Austen compare faces and form to evoke identity ([3], [4]), while Hume and others use resemblance to explore philosophical and moral relations ([5], [6], [7], [8]). Authors sometimes focus on linguistic or cultural echoes, noting how names or terms recall ancient words or natural objects, as seen in Mooney’s and Jefferson’s observations ([9], [10], [11]). Even when employed in a whimsical or ironic tone, as in the playful exclamations by Chekhov ([12]), the concept remains central to articulating the way similarities—whether striking or accidental—shape our perceptions and understanding of the world.