The word “diabolic” has been wielded with a rich variety of nuances in literature, often merging the realms of the infernal with subtler insinuations of moral complexity. For instance, Baudelaire uses it to capture a paradoxical blend of wickedness and divine allure in a captivating glance [1], whereas Marco Polo’s depiction aligns it with mysterious and dangerous sorceries [2]. In Conrad’s work, the term appears twice—first as a descriptor for an ominous expression [3] and later to emphasize what a character’s demeanor is not [4]—highlighting the shifting weight of its connotation depending on context. Shaw contrasts the “diabolic temperament” with the angelic, underscoring an inherent duality in human character [5, 6], while Joyce employs it to paint a vividly sinister physical transformation [7]. Finally, both Stoker and Nietzsche invoke “diabolic” to signal a departure from goodness and an embrace of moral deviance, thereby underscoring its persistent association with corruption and the abnormal [8, 9].