The word “compress” has been used in literature with remarkable versatility, oscillating between concrete physical actions and more abstract, metaphorical ideas. In some texts it denotes a literal pressing or squeezing, such as when a character "compresses his frame" to withstand hardship [1] or when a stocking is described as compressing the foot [2]. In other instances, it takes on a figurative or intellectual sense—Coleridge speaks of compressing his brain to usher sleep [3], while Nietzsche proposes the idea of compressing facts into a concise formula [4]. Chekhov’s various narratives further illustrate its dual nature, employing the term both to refer to objects like a cooling compress applied to a fevered head [5, 6, 7] and to signal a more subtle change or manipulation in character dynamics [8]. Even in technical or structural contexts, such as modern discussions about distribution files [9] or the transformation of earth into bricks in Doyle’s work [10, 11], “compress” serves as a testament to the word’s adaptability, bridging the physical and the conceptual [12, 13, 14, 15].