The term "devilry" has been used in literature to evoke a range of meanings from mischief and trickery to more sinister, almost supernatural, activities. In some works, like Forster’s Howards End [1] and Kipling’s Kim [2, 3], the word carries a sense of playful roguery or mischievous behavior, hinting at actions that border on the illicit yet retain a humorous, light-hearted quality. In contrast, authors such as Chekhov [4, 5, 6] and Dickens [7] employ "devilry" with a darker nuance, implying deceit, craftiness, or even a touch of the demonic in everyday acts. Meanwhile, Nietzsche’s use of the term in Beyond Good and Evil [8] and in The Will to Power [9] challenges conventional morality, suggesting the transformative or subversive potential of such behavior. Across these varied contexts—from Ibsen's portrayal of seafaring misadventures [10] to Hardy’s unexpected twist of fate [11]—"devilry" serves as an expressive tool, encapsulating the complexities of human behavior and the timeless allure of the forbidden.