In “Fifteen” from Fearless, Swift sings, “You sit in class next to a redhead named Abigail, and soon enough, you're best friends, laughing at the other girls who think they're so cool / We'll be out of here as soon as we can.”

A more metaphorical name, Achilles comes from “State of Grace,” in which Swift sings, “Love is a ruthless game, unless you play it good and right / These are the hands of fate / You’re my Achilles heel.”

In Lover’s “Archer,” Swift offers raw, vulnerable introspection on former friends and her ability to trust again. “I’ve been the archer / I’ve been the prey / Who could ever leave me, darling? / But who could stay?”

Skilled storyteller that she is, Swift created what she called a “teenage love triangle” spanning across three songs on Folklore. “August” is written from the perspective of the third unnamed girl in the triangle, who Swift later confirmed to be named Augustine.

“This scene feels like what I once saw on a screen / I searched aurora borealis green / But I’ve never seen someone live from within / Blurring out my periphery,” Swift sings in “Snow on the Beach” on Midnights.

Any true Swiftie knows fall is a recurring theme in Swift’s songs. In “Red,” she observes “the colors in autumn, so bright, just before they fall.” On “All Too Well,” she describes “autumn leaves falling down like pieces into place.” The “autumn chill” wakes her up in “Marjorie.” And on it goes!

The title of Taylor Swift’s song “Betty” from Folklore was reportedly inspired by her friends Blake Lively and Ryan Reynolds’ youngest daughter. Their other daughters’ names — Inez and James — are also featured in the song’s lyrics.

In Swift’s 10-minute re-release of “All Too Well,” she describes with aching honesty what it feels like to return to a place that holds heartbreak: “From when your Brooklyn broke my skin and bones, I’m a soldier who’s returning half her weight.”

In “Ready for It,” Swift likens a secret romance to famed couple Richard Burton and Elizabeth Taylor, saying, “He can be my jailer, Burton to this Taylor / Every lover known in comparison is a failure.”

Swift penned this haunting and ethereal song for the big screen adaptation of Delia Owens’ novel Where The Crawdads Sing. A reference to the state in which the story is set, this name gets nine mentions in the lyrics, starting with the first line: “Oh, Carolina creeks, running through my veins / Lost I was born, lonesome I came, lonesome I’ll always stay / Carolina knows, why for years I roam / Free as these birds, light as whispers / Carolina knows.”

Another song that hints at how much meaning a place can hold, Swift sings on this titular track, “And I hope I never lose you, hope it never ends / I’d never walk Cornelia Street again / That’s the kind of heartbreak time could never mend / I’d never walk Cornelia Street again.”

This name finds its way into two Swift songs. In “Don’t Blame Me,” it’s symbolic: “I once was poison ivy, but now I’m your daisy.” In “You’re On Your Own, Kid,” it’s a nod to an actual name: “I see the great escape / so long, Daisy May.”

In “The Last Great American Dynasty,” Swift weaves a tale of the history behind her Rhode Island mansion. In it, she alludes to the original owner’s wild antics and famous company, singing, “Filled the pool with champagne and swam with the big names / And blew through the money on the boys and the ballet / And losing on card game bets with Dalí.”

OK, so technically Swift doesn’t use this as a name. But this line from “Innocent” — “Time turns flames to embers / You’ll have new Septembers” — deserves to be immortalized in some way. Plus, the name itself means “burning low,” which we love, right?

Sure, “No Body, No Crime” is a dark song speaking to an unsolved crime about a woman named Este who goes missing. But this name, which means “star,” is stunning.

ICYMI, place plays a big part in many of Swift’s songs. In “Tim McGraw,” it’s another southern state: “He said the way my blue eyes shined put those Georgia stars to shame that night.”

From her Lover album, “I Think He Knows” brings in a color that makes a cool gender-neutral name. “Lyrical smile, indigo eyes, hand on my thigh / We can follow the sparks, I’ll drive.”

Throwing it back to a Swift classic, “Love Story” spins a modern-tale of star-crossed romance: “Little did I know that you were Romeo, you were throwin’ pebbles / And my daddy said, ‘Stay away from Juliet.’”

No one can capture the way heartbreak stays with you quite like Swift, who nails it in “You All Over Me.” In one line, she references the month the song’s lovers first crossed paths, saying, “The best and worst day of June was the one that I met you.”

In the double-standard-slamming “The Man,” Swift references actor Leonardo DiCaprio, saying, “And they would toast to me, oh, let the players play / I’d be just like Leo, in Saint-Tropez.” Hey, that’s fair — and Leo makes a super-cute nickname name.

Who was really emotionally prepared for Evermore’s “Marjorie,” Swift’s heartbreaking tribute to her late grandmother? No one, that’s who. Not a damn soul. Hear for yourself: “Should’ve kept every grocery store receipt / ‘Cause every scrap of you would be taken from me / Watched as you signed your name Marjorie / All your closets of backlogged dreams, and how you left them all to me.”

This name comes in precisely the form you’d expect: the classic idiom. In “Champagne Problems,” Swift paints a picture of “your Midas touch on the Chevy door.”

Swift may be the only musician we willingly allow to obliterate our hearts — and then ask for more. Case in point? In 2011, she wrote and recorded the track “Ronan” after reading Maya Thompson’s blog about her son’s battle with cancer. And that meaning makes this name a lovely double tribute.

I mean... obviously. Not only does Swift use the name “Taylor” in some of her songs, but it’s her name, which makes this one a no-brainer. A great gender-neutral option, it means “cutter of cloth.”

From Evermore, this chart-topping chamber folk ballad blends fact and fiction for a mystical-sounding song about the complexity of longing for someone. “Life was a willow and it bent right to your wind (oh) / Head on the pillow, I could feel you sneaking in / As if you were a mythical thing.”