Throughout literary history the term “minion” has served multifaceted roles that mirror the shifting nuances of interpersonal hierarchy and endearment. In François Rabelais’s works, for instance, the word appears as an affectionate, even playful, term for a cherished companion or subordinate ([1], [2], [3], [4]), while in Ben Jonson’s writings it oscillates between calling a close friend and denoting a kind of rudimentary ordinance—a cannon—to highlight subservience or familiarity ([5], [6], [7], [8], [9]). Walter Scott and Charles Dickens, too, employ “minion” to evoke a sense of imposed duty or hierarchical attachment in characters whose very identities are intertwined with those above them ([10], [11], [12], [13]), and Louisa May Alcott uses it in a similarly layered manner to mark both affection and obligation ([14], [15]). This lexical versatility is further seen in the works of Oscar Wilde, Francis Bacon, and even in Plutarch’s accounts ([16], [17], [18]), demonstrating that “minion” has long served as a term rich with connotations of both endearment and social subordination.