The term "deviltry" has been employed in literature to evoke a range of notions from mischievous tricks to profound societal evils. In some works, particularly in more traditional narratives, the word retains an almost whimsical quality—evoking minor mischief or trickery as seen in Galdós’s depiction of playful mischief in Doña Perfecta [1] or Hawthorne’s dismissive challenge against imposing one’s cunning schemes [2]. In contrast, writers like Mark Twain use the term to hint at a deeper, perhaps even rougher, subversion of societal norms as implied by the characterization of nefarious activities [3]. Meanwhile, W. E. B. Du Bois employs "deviltry" in a modern socio-political context, linking it to the destructive forces of industrialization and systemic injustice, suggesting that such misdeeds are interwoven with broader societal decay and exploitation [4][5]. José Rizal also contributes to this spectrum by portraying "deviltry" with a personal twist, associating it with peculiar human behavior that transforms with emotion [6]. Together, these examples showcase the word’s flexibility, merging playful connotations with critiques of deeper moral and societal failings.