Violin

Violin (pronounced vahy-uh-lin)

(1) The treble instrument of the family of modern bowed instruments, built as a small unfretted instrument with four strings tuned (lowest to highest) G-D-A-E and held nearly horizontal by the player's arm against the chin, with the lower part supported against the collarbone or shoulder; it’s played with a bow.

(2) In musical performance, metonymically, the position of a violinist in an orchestra, string quartet or other formation or group (sometimes as first violin, second violin etc).

(3) In musical composition, a part to be played on a violin.

(4) Any instrument of the violin family, always inclusive of violins, violas, and cellos and sometimes further including the double bass (used by certain musical specialists but a use derided by most).

(5) To play on, or as if on, a violin (rare except in technical use),

1570–1580: From the Italian violino (a little viola), the construct being viol(a) (from the Italian viola, from the Provençal and of uncertain origin but there may be some link with the Latin vītulārī (to rejoice)) + -ino (the suffix used to form diminutives).  The sixteenth century word described the modern form of the smaller, medieval viola da braccio.  The violin and viola share similarities in terms of construction and playing technique but a violin is smaller.  A full-size violin has a body length around 14 inches (360 mm) while a viola typically extends to around 16 inches (405 mm) and the larger instrument tends to have a lower pitch range and different tonal qualities.  The violin is noted for a high pitch range (G-D-A-E low to high) while a viola is tuned to C-G-D-A, a perfect fifth lower which lends it a deeper, mellower sound.  In an orchestra, the violin usually plays the melody (the highest voice in the string section) and thus many solo pieces are written which attract the most virtuosic players.  Viola pieces are usually supportive , providing harmony, inner voices, or countermelodies although it does have its own solo repertoire.  Violin is a noun & verb, violinist is a noun and violining & violined are verbs; the noun plural is violins.

The Duce with violin.

As well as professionals, the violin has long attracted also those who enjoy music as a hobby, Charlie Chaplin (1889–1977), Marlene Dietrich (1901-1992), Albert Einstein (1879-1955) & Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) were all keen players and leader of the US Nation of Islam (NOI), Louis Farrakhan (b 1933), in 1993 even performed Felix Mendelssohn's (1809-1847) Violin Concerto in E Minor.  His skill aside (and the reviews were warm enough), the choice of a piece by Mendelssohn was interesting because of Mr Farrakhan's history of anti-Semitic rhetoric but even in that the interpretations of motive varied because although of Jewish ancestry, the composer was baptized and raised a Christian and while in recent years some scholars have made the case for the sincerity of his Christianity, others maintain that for most of his life he displayed an unalloyed reverence for his Jewish roots.  However while the persistent legend is that Roman Emperor Nero (37-68) "fiddled while Rome burned" in 64 AD it probably isn't true; even if he "fiddled away" on some instrument, it wouldn't have been a fiddle because that device was 15 centuries away.  If he played anything mid-inferno it was probably a lute but historians think the phrase was intended to mean something like "twiddled his thumbs", suggesting he was negligently inactive or inept in his handling of the disaster.  Even this is now thought by many historians to be the fake news of its day, spread by his political enemies (of which justly he had many).

Lindsay Lohan backstage with guitarist Michael Isbell (b 1979) & fiddle player Amanda Shires (b 1982) at the Dylan Fest concert, Bowery Ballroom, New York City, November 2013.

The distinction between the violin and the fiddle is less about the actual instruments than the use to which they’re put although both words are replete with cultural baggage.  What is essentially the same instrument is thought a violin when playing from the classical canon and a fiddle if performing folk or country & western music.  Of course there are many genres apart from these and when the instrument is used in other settings (jazz, pop et al), the use is up to the individual, influenced either by their own preference or some sense of adherence to the conventions describing whatever is being performed.  The fiddle (as a stringed musical instrument) has a long history and is a feature of much medieval art depicting performances of folk music.  It was from the late fourteenth century Middle English fedele, fydyll & fidel from the eleventh century fithele, from the Old English fiðele (fiddle) which was related to the Old Norse fiðla, the Middle Dutch vedele, the Dutch vedel, the Old High German fidula and the German Fiedel, all of which are of uncertain origin.  There’s never been anything to suggest there’s anything onomatopoeic in the origin and the most cited theory (based on resemblance in sound and sense), is that there’s a connection to the Medieval Latin vitula (stringed instrument (source of Old French viole and the Italian viola), which may be related to the Latin vitularia (celebrate joyfully), from Vitula, the Roman goddess of joy and victory, thought to have been drawn from the Sabines.  That however remains speculative and it’s not impossible the Medieval Latin word was derived from one of the Germanic forms.

The Dallas-based Quebe Sisters (siblings Grace, Sophia & Hulda) are a triple fiddle trio who play what is described as "neo-traditionalist western swing".

Despite the snobbery of some, those who enjoy country & western music are not culturally inferior; it’s just a different form of sophistication.  In certain circles however there is a dismissive contemptuousness of “fiddle songs” and the fiddle’s reputation has suffered by association, relegated to the colloquial usage by the respectable violin, a process doubtlessly hastened by encouraged by phrases such as fiddlesticks (from the 1620s meaning “untrue; absurd”), fiddle-de-dee (from 1784 and a nonsense word in the sense of “contemptuously silly”) and fiddle-faddle (a mid-nineteenth century coining to convey the idea of “a statement worthy only of ridicule; blatantly untrue”).  The outlier of course is fit as a fiddle (robust; in rude good health), noted since the 1610s and apparently unrelated to music or the instrument, it being probably one of those English sayings which caught on because of the alliterative appeal and there are etymologists who suspect the original form was “fit as a fiddler” but the familiar version prevailed because it more easily rolled from the tongue.

The Kreutzer Sonata (1901), oil on canvas by René François Xavier Prinet (1861-1946).

The Kreutzer Sonata was inspired by Leo Tolstoy’s (1828-1910) novella of the same title (1889), which was named after Ludwig van Beethoven’s (circa 1770–1827) Violin Sonata No 9, Opus 47 (1803), a violin and piano composition dedicated to the French violinist & conductor Rodolphe Kreutzer (1766-1831).  Kreutzer never performed the piece but whether this was related to him being the “second choice” is unknown.  Beethoven originally dedicated the sonata to another violinist who first performed it but the two had a squabble about something and the bad-tempered composer instead conferred the honor on Kreutzer.  The work is a favorite among violinists because it can convey an emotional range from anger and despair to joy and in this vein, Tolstoy’s tale is one of a woman murdered by her husband because of his suspicion of her infidelity with a violinist.  The Tsar’s censor (a busy, full-time job) for a time banned the book because of concerns it might “stir the emotions”.

Viola is a genus of flowering plants in the violet family Violaceae.

The sonata had certainly stirred something in Tolstoy who said he was “shocked at the eroticism” when it was performed by a man and a woman and he wasn’t the only one affected by the instrument.  Both the Italian composer and violinist of the Baroque period Giuseppe Tartini (1692–1770) and Igor Stravinsky (1882-1971) also referred to the violin as “the devil’s instrument, the Italian with rather more glee, the Russian well-deserving the appellation “six odd feet of Russian misery” attributed to George Gershwin (1898-1937).  Tolstoy depicted the violin as something so evil in the eroticism it could summon it could drive a man to murder and infamously there was a violinist who murdered on a grand scale.  The roll-call of evil-doers among the Nazi hierarchy was long and it’s probably morally dubious to try to suggest which were worse than others but probably all agree Schutzstaffel (SS) Obergruppenführer (an SS rank equivalent to an army general) Reinhard Heydrich (1904–1942; head of the Reichssicherheitshauptamt (Reich Main Security Office (including the Gestapo, Kripo, and SD 1939-1942)) was as repellently awful as any.  He was though a genuinely gifted musician and could have pursued a musical career; it was said that when he played the violin, grown men could be reduced to tears.

Kiki in Le Violon d'Ingres.

One of the enduring images of surrealist photography Le Violon d'Ingres (Ingres's Violin) was taken by the US visual artist Man Ray (Emmanuel Radnitzky 1890-1976) in Paris 1924.  The model was Kiki de Montparnasse (“Kiki of Montparnasse”: Alice Prin; 1901–1953) and the title was something of a play on words, the French phrase “le violon d'Ingres” meaning “hobby” and mademoiselle Kiki the photographer’s muse and lover (it was a tempestuous relationship). The French expression was derived from the habit of the neoclassical painter Jean-Auguste-Dominique Ingres (1780–1867) insisting on playing the violin to visitors who were there anxious to view his paintings.  The photograph references one of the artist’s most admired works, La Grande Baigneuse (The Valpinçon Bather) which focuses also on the female back.  Obviously, Man Ray worked in the pre-digital world when images were committed to celluloid but his post-production editing technique used layers in a way analogous with that of Photoshop and other image handlers: Wanting to explore the similarity in shape between the body of a violin and the pleasing torso of his model, he first printed a copy onto which he painted the f-holes of a violin, then photographed the modified image.  That became the famous work and in June 2022 it went under the hammer for US$12.4 million at Christie's New York, making it the most expensive ever to be sold at auction.

Kiki in a French postcard, circa 1920.

Mademoiselle Kiki was from the provinces and came to nude modelling in Paris only after a succession of dreary jobs, the last in a bakery from which she was fired by the baker’s wife for punching her in the face after being called a whore for wearing eye make-up.  Man Ray “discovered her by accident” and she found nude modelling both a pleasant occupation and more lucrative than the hard work of being a baker’s assistant but that view wasn’t shared by her mother who, tipped off by a neighbor, burst into the photographer’s studio and make it clear she agreed with baker’s wife, banning her from the apartment they shared.  The affair with Man Ray was thus immediately convenient but their feelings seem genuinely to have been sincere although it did end badly; at one point he was seen chasing her down the street, revolver in hand.

Model Adriana Fenice (b 1995) with violin and horsehair bow.

Nude modelling was at the time frowned upon by the more respectable of those engaged by Parisian fashion houses, something which endures to this day.  Even in 1946, the inventor of the bikini (not a new style but his cut was daringly minimalist) couldn’t find a model on the books of the agencies willing to be photographed in such a thing so he hired a nude model; for her it was more fabric than usual.  The disapprobation of the middle-class towards non-conforming women persists and manifests in different cultures at different levels.  In India, nude modelling is definitely out but mothers will also tar occupations such as prostitute, flight attendant and call-centre worker with the same brush of un-virtue, apparently because they all sometimes work during the hours of darkness when respectable girls are in the home, cooking & cleaning.

Nicola Benedetti CBE (b 1987) with her "Earl Spencer" Stradivarius.

Violinist (one who plays the violin) dates from the 1660s and was from the Italian violinist.  A violinist is thus a musician and not a “violin maker”: those practicing that profession are properly called luthiers.  A luthier is a skilled craftsperson who specializes in the construction, repair, and restoration of stringed instruments, particularly violins and the range of skills needed is wide because a luthier needs to select and fashion by cutting and carving, different types of wood which need to be assembled and varnished, all processes which ultimately determine the instrument’s tone and aesthetic qualities.  In the traditional way of making violins, there is both artistry and craftsmanship.  Luthier has no connection with “Lucifer” (and there’s thus no link with the notion of the “devil’s instrument”).  Luthier was from the French luth (lute), a stringed instrument of great antiquity that was wildly popular during the medieval era and the Renaissance periods and the luthier's craft once focused predominately on the construction and repair of lutes.  As the lute faded from use and the violin gained prominence, luthiers adapted and changed, becoming specialists in the violin making, some branching out to include other stringed instruments such as violas, cellos, and guitars.  The French luth was from leutier, from the Latin luteum (yellow or yellowish), thought to refer to the honey-colored wood most suited to musical instruments.

Yehudi Menuhin on stage, 1943.

Still the most famous of the luthiers is Antonio Stradivari (1644-1737) whose workshop was in Cremona.  His violins, of which there were thousands, may or may not have been the product of his own hands because he had sons and pupils in his business but the survivors by the 1990s were selling for millions.  The familiar Stradivarius is the anglicized form and although some “blind tests” have suggested even experts can’t tell the difference in the sound from a genuine “Strad” and a good quality modern violin, they have become a collectable and now sell for even more millions.  The acclaimed virtuoso Yehudi Menuhin (1916–1999) for decades played on one of the rare Soil Stradivarius, crafted in 1714 during the luthier’s “golden period”.  During World War II (1939-1945), Menuhin sometimes played concerts to entertain troops and once found out that due to an army SNAFU, his waiting audience was expecting an attractive young lady to sing for them.  Undeterred, he walked on stage, telling the soldiers: “You won’t enjoy this, but it’s good for you”, proceeding to play Handel’s Violin Sonata No. 3.  It was well received.

The Joachim-Ma Stradivarius.

In February 2025 a Stradivarius violin, authenticated as having been crafted in 1714, sold at a Sotheby’s of Manhattan auction in New York for $11.25 million which disappointed some who had expected a new record for the instrument.  The 311-year-old artefact was known in the trade as the “Joachim-Ma Stradivarius”, a reference to one-time owners Hungarian violinist, conductor & composer Joseph Joachim (1831–1907 (who had been a friend of the German composer, pianist & conductor Johannes Brahms (1833–1897)) and violinist Ma Si Hon (1925-2009); in 2015 it had been donated to the New England Conservatory (NEC) with the proviso it would one day be sold to fund musical scholarships for youth.  That it didn’t set a new mark may be because, like many collectables, there is the power of celebrity association.

The Lady Blunt Stradivarius in case.

The 1721 “Lady Blunt Stradivarius” which in 2011 passed under the hammer for US$15.9 million had been named for Lord Byron’s (1788–1824) granddaughter (Anne Blunt (1837-1917); Baroness Wentworth but styled usually as Lady Anne Blunt) and in artistic circles there’s quite an allure to Byron.  That said, the mid-decade downturn in other collector markets does suggest macro-economic conditions may have been a factor in the 2025 auction, especially if recent inflation and the massive increase in the money supply since 2011 are considered.  However, the official record for US$15.9 million may not be the highest paid because, something like the Ferrari 250 GTOs, Stradivarii do change hands in unpublicized private sales (the so-called “off-market” transactions) and there are (unverified) tales of sales in excess of US$20 million.  Many analysts are sceptical about the notion of US$20 million violins because the price achieved for the Lady Blunt (though one of the finest Stradivarii known to exist, almost unflawed and still with its presentation case by W.E. Hill & Sons of London) was in a charity auction conducted for the benefit of the Nippon Foundation's relief fund for victims of the 2011 Tōhoku earthquake and tsunami.

Yehudi Menuhin playing the Lady Blunt, Sotheby's, London, 1971.

In a long career 75 years, Menuhin played a number of famous violins including the Lord Wilton Guarnerius (1742), the Giovanni Bussetto (1680), the Giovanni Grancino (1695), the Guarneri filius Andrea (1703), the Soil Stradivarius (1714), the Prince Khevenhüller Stradivari (1733) and the Guarneri del Gesù (1739).  Unlike racing car drivers who in their memoirs usually list the best (and, often more expansively, the worst) machine they handled, in neither of his volumes of autobiography (Unfinished Journey (1977) and Unfinished Journey: Twenty Years Later (1997) he didn’t rate them although the one he played for almost four decades was the Soil Stradivarius, purchased in 1950.

Mermaid

Mermaid (pronounced mur-meyd)

(1) In folklore, a female marine creature, having the head, torso, and arms of a woman and the tail of a fish.  The less well-known masculine equivalent is a merman.

(2) Slang term for a highly skilled female swimmer.

Mid-1300s: From the Middle English mermayde (maid of the sea), the construct being mere + maid. From the Middle English mere, from the Old English mere (sea; inlet; lake), from the Proto-Germanic mari derived from the primitive Indo-European móri. It was cognate with the West Frisian mar, the Dutch & Low German meer and Norwegian mar (only used in combinations, such as marbakke).  It was related to the Latin mare, the Breton mor and the Russian мо́ре (móre).  Maid is from the Middle English mayde or maide, an abbreviation of maiden. Ultimate source is the Proto-Germanic magaþs (maid, virgin) and there were links to the Dutch meid & Magd.  The fourteenth century image of the "fabled marine or amphibian creature having the upper body in the form of a woman and the lower in the form of a fish, with human attributes" appeared most often in conjunction with the idea of a creature "usually working harm, with or without malignant intent, to mortals with whom she might be thrown into relation".

Along with meremenn, meremennen & meremenin, Old English had the equivalent merewif (water-witch (related is the modern “wife”)) and meremenn (mermaid, siren) which were cognate with the Middle Dutch meer-minne and the Old High German meri-min which, circa 1200, became the Middle English mere-min, shortened in the early thirteenth century to mere (siren), the later mermaid probably a re-expansion of this.  Interestingly, where similar forms existed in northern Europe, they were tail-less; the fishy form a medieval influence from classical sirens, mermaids said sometimes to lure sailors to destruction with song.

An artist's depiction of Lindsay Lohan as mermaid.

Mermaids became a popular sign displayed by taverns and inns (and not just those in ports or coastal towns) in the early fifteenth century and Mermaid pie, first sold in the 1660s, was a sucking pig baked whole in a crust and documented from 1825 was the mermaid's purse (the baked egg-case of a skate, ray, or shark), a dish (an aquatic take on the culinary tradition of haggis) thought of Scottish origin.  The merman (fabulous sea-creature, man above and fish below (literally "man of the sea)) dates from circa 1600; the gender-neutral merpeople from 1849 and merfolk (inhabitants of the sea with human bodies and fish-like tails) from 1846.  The recent male gender formations never caught the public imagination in quite the same way and seem pointless add-ons to the myth, al la Barbi's Ken.

Садко в Подводном царстве (Romanized as Sadko v Podvodnom tsarstve) and commonly called Sadko although known also as Sadko in the Underwater Kingdom (1876), oil on canvas by Ilya Yefimovich Repin (1844–1930), Russian Museum, Saint Petersburg.  

Repin painted Sadko (an imposing 127 in × 90.6 inches (3.225 x 2.3m)) while living in France.  The artist was inspired by an epic-length Russian poem, depicting the merchant and musician Sadko who must choose for his wife one of the daughters of the Underwater King.  Biographers have noted the subject an uncharacteristic one for Repin and have suggested his choice of a tale from Russian folklore may have reflected the homesickness he felt after three years in self-imposed exile although it exhibits too the influences of the artistic and social milieu of Paris's Montmartre.  At the time, Repin was ambivalent about the state of Russian art and for some time, Sadko sat abandoned in his studio but the society painter Alexey Petrovich Bogolyubov (1824–1896) thought it so compellingly Russian he prevailed upon Tsesarevich Alexander Alexandrovich (1845-1894; the future Tsar Alexander III (1881-1894)) to commission it, prompting Repin to finish the work.

The bylina (an oral epic poem) which inspired the painting was from north-west Russia and recounts how Sadko had been brought to the realm of the Underwater King to perform a recital which went well, so well the king danced with such delight that he caused a devastating storm.  To show his appreciation, the king offered Sadko the choice of one of his mermaid daughters to take as his wife but following the advice of a saint, Sadko refuses three times three hundred daughters before accepting the last, named Chernavushka.  In the painting, Sadko appears at the right, watching the mermaids flow past his gaze, the unchosen at the front of the procession looking more disappointed than the fish John West rejects.  Chernavushka, last in the aquatic queue is shown glancing at her man.  At the time, the work received a mixed reaction.  All acknowledged the technical skill displayed in the execution but it appealed only to Russian traditionalists, those critics who moved in more liberal circles and were attracted more to realism than a mystical allegory of an undersea kingdom thought it sentimental "folk-art" and urged Repin to return to the naturalistic style with which he'd established his early reputation.

Nice work if you can get it: The Disneyland mermaids.

In summer, between 1959-1967, women dressed as mermaids were employed to splash around four hours a day, operating from a coral reef in the middle of the Submarine Lagoon at the Disneyland Resort in California.  The criteria to qualify for selection as a Disney mermaid included having long hair and being able to swim, the other qualifications not listed on the advertisements but presumably implied by the nature of the appointment.  Those lucky enough to succeed in the first stage of the recruitment process needed to prove their prowess in the hotel pool and, upon demonstrating adequate aquatic adeptness, were given a job which included their tails.  The weekly salary was US$65 which was above average for the time, their other perk being the right to swim in any of the park's many pools (without their tails).

Disney mermaids on the rocks.

For a few weeks, prior to the opening in June, the mermaids practiced in Submarine Lagoon, surrounded by construction activity, neither the lagoon or the Matterhorn yet complete and were warned to keep their distance from the submarine, since there was no barrier and the installation contained what were described, ominously, as "moving parts".  After opening, the mermaids would swim around the submarine, giving guests a memorable experience under and above the surface, performing tricks such as flips and turns with their tails.  Their costumes consisted of a starfish top and a remarkably life-like neoprene tail which could be seen shimmering in the water by those aboard the monorail which transported guests between the park and the Disneyland Hotel.

Disney mermaids flexing their tails.

An integral and important part of the lagoon’s design was a centrally-located rock which was artificially heated, vital because the water was cold and on cooler days, the mermaids really needed the warmth.  The rock became the hangout spot for the mermaids to warm up in the sun and chat amongst themselves, itself something of a tourist attraction and one of the park’s more photographed scenes although the volume of the crowds gathered to enjoy the view did create congestion.  That was manageable but the programme had to be closed in 1967 after a number of mermaids were found to be suffering illness, caused by a combination of prolonged exposure to diesel submarine's exhaust fumes and the highly chlorinated water.  After an absence of many years, mermaids can again be seen in the lagoon but, unlike the flesh, blood and neoprene originals, today’s creatures are animatronic creations.

The  “sturgeon incident”, Xishuangbanna Primitive Forest Park, Yunnan, China, January 2025.  

In the twenty-first century, being a mermaid remains hazardous, the dangers including some not covered by most OHS (occupational health & safety) guidelines.  In January 2025, aged 22, Russian national Masha was working as a mermaid in the aquarium at Xishuangbanna Primitive Forest Park in the PRC’s (People’s Republic of China) Yunnan Province when a large sturgeon appeared to attempt to “chomp” on her head.  The quick thinking mermaid swam away with only minor injuries although it appears the fish may have swallowed her goggles and nose clips.  Children in the audience were said to be “shocked”.

Masha before “sturgeon incident”.

The source of the most prized and expensive caviar, sturgeons are among the largest freshwater fish and the largest can grow to 24 feet (7.2 meters) in length and weigh over 3500 lb (1500 kg) although most are typically between 7–10 feet (2–3 meters) and weigh several hundred pounds; an ancient species, they can live over 100 years.  Generally shy, there’s no history of them attacking people although the largest (like the Gulf or Atlantic sturgeon) have sometimes caused injuries (and even fatalities) by leaping from the water and colliding with someone unfortunate enough to be in their path.  Bottom feeders, they live on small aquatic organisms like crustaceans, insects and molluscs; lacking teeth, they use their suction-feeding ability to suck up food from the river or lakebed, relying on their barbels (whisker-like sensory organs) to detect prey in murky water.

Masha after “sturgeon incident”.

The mermaid was offered about US$100 in compensation for “moral damages” but was also warned not to discuss the “attack” and reminded of the consequences of posting material on-line which could be construed as “being a troublemaker” but unfortunately for Xishuangbanna Primitive Forest Park’s relationship with the CCP (Chinese Communist Party), customers who had filmed the attack within minutes uploaded the footage to TikTok’s domestic sister app Douyin, from which it spread worldwide.  Moscow news services reported that so expendable did Russian mermaids appear to be that although injured and in some pain, Masha was required almost immediately to return to the water where presumably she maintained a cautious distance from the big fish.  In Russian, Masha is an affectionate diminutive of Maria, from Mary, the English form of Maria, the Latin form of the Greek Μαρία, María (or Μαριάμ) & Mariam, found in the Septuagint and New Testament.  In the Hebrew the name meant “rising water” and in Russian “star of the sea” so Masha may have been destined to be a mermaid or at least something aquatic.  Masha can also mean “willpower” or “bitterness” and, in the circumstances, she might need one to overcome the other.

Evil

Evil (pronounced ee-vuhl)

(1) Morally wrong or bad; immoral; wicked; morally corrupt.

(2) Harmful; injurious (now rare).

(3) Marked or accompanied by misfortune (now rare; mostly historic).

(4) Having harmful qualities; not good; worthless or deleterious (obsolete).

Pre 900: From the Middle English evel, ivel & uvel (evil) from the Old English yfel, (bad, vicious, ill, wicked) from the Proto-Germanic ubilaz.  Related were the Saterland Frisian eeuwel, the Dutch euvel, the Low German övel & the German übel; it was cognate with the Gothic ubils, the Old High German ubil, the German übel and the Middle Dutch evel and the Irish variation abdal (excessive).  Root has long been thought the primitive Indo-European hupélos (diminutive of hwep) (treat badly) which produced also the Hittite huwappi (to mistreat, harass) and huwappa (evil, badness) but an alternative view is a descent from upélos (evil; (literally "going over or beyond (acceptable limits)")) from the primitive Indo-European upo, up & eup (down, up, over).  Evil is a noun & adjective (some do treat it as a verb), evilness is a noun and evilly an adverb; the noun plural is evils.

Evil (the word) arrived early in English and endured.  In Old English and all the early Teutonic languages except the Scandinavian, it quickly became the most comprehensive adjectival expression of disapproval, dislike or disparagement.  Evil was the word Anglo-Saxons used to convey some sense of the bad, cruel, unskillful, defective, harm, crime, misfortune or disease.  The meaning with which we’re most familiar, "extreme moral wickedness" existed since Old English but did not assume predominance until the eighteenth century.  The Latin phrase oculus malus was known in Old English as eage yfel and survives in Modern English as “evil eye”.  Evilchild is attested as an English surname from the thirteenth century and Australian-born Air Chief Marshall Sir Douglas Evill (1892-1971) was head of the Royal Air Force (RAF) delegation to Washington during World War II (1939-1945).  Despite its utility, there’s probably no word in English with as many words of in the same vein without any being actually synonymous.  Consider: destructive, hateful, vile, malicious, vicious, heinous, ugly, bad, nefarious, villainous, corrupt, malefic, malevolent, hideous, wicked, harm, pain, catastrophe, calamity, ill, sinful, iniquitous, depraved, vicious, corrupt, base, iniquity & unrighteousness; all tend in the direction yet none quite matches the darkness of evil although malefic probably come close.  

Hannah Arendt and the banality of evil

The word evil served English unambiguously and well for centuries and most, secular and spiritual, knew that some people are just evil.  It was in the later twentieth century, with the sudden proliferation of psychologists, interior decorators, sociologists, criminologists, social workers and basket weavers that an industry developed exploring alternative explanations and causations for what had long been encapsulated in the word evil.  The output was uneven but among the best remembered, certainly for its most evocative phrase, was in the work of German-American philosopher and political theorist Hannah Arendt (1906–1975).  Arendt’s concern, given the scale of the holocaust was: "Can one do evil without being evil?"

Whether the leading Nazis were unusually (or even uniquely) evil or merely individuals who, through a combination of circumstances, came to do awful things has been a question which has for decades interested psychiatrists, political scientists and historians.  Arendt attended the 1961 trial of Adolph Eichmann (1906-1962), the bureaucrat responsible for transportation of millions of Jews and others to the death camps built to allow the Nazis to commit the industrial-scale mass-murder of the final solution.  Arendt thought Eichmann ordinary and bland, “neither perverted nor sadistic” but instead “terrifyingly normal”, acting only as a diligent civil servant interested in career advancement, his evil deeds done apparently without ever an evil thought in his mind.  Her work was published as Eichmann in Jerusalem: A Report on the Banality of Evil (1963).  The work attracted controversy and perhaps that memorable phrase didn’t help.  It captured the popular imagination and even academic critics seemed seduced.  Arendt’s point, inter alia, was that nothing in Eichmann’s life or character suggested that had it not been for the Nazis and the notion of normality they constructed, he’d never have murdered even one person.  The view has its flaws in that there’s much documentation from the era to prove many Nazis, including Eichmann, knew what they were doing was a monstrous crime so a discussion of whether Eichmann was immoral or amoral and whether one implies evil while the other does not does, after Auschwitz, seems a sterile argument.

Evil is where it’s found.

Hannah Arendt's relationship with Martin Heidegger (1889–1976) began when she was a nineteen year old student of philosophy and he her professor, married and aged thirty-six.  Influential still in his contributions to phenomenology and existentialism, he will forever be controversial because of his brief flirtation with the Nazis, joining the party and taking an academic appointment under Nazi favor.  He resigned from the post within a year and distanced himself from the party but, despite expressing regrets in private, never publicly repented.  His affair with the Jewish Arendt is perhaps unremarkable because it pre-dated the Third Reich but what has always attracted interest is that their friendship lasted the rest of their lives, documented in their own words in a collection of their correspondence (Letters: 1925-1975, Hannah Arendt & Martin Heidegger (2003), Ursula Ludz (Editor), Andrew Shields (Translator)).  Cited sometimes as proof that feelings can transcend politics (as if ever there was doubt), the half-century of letters which track the course of a relationship which began as one of lovers and evolved first into friendship and then intellectual congress.  For those who wish to explore contradiction and complexity in human affairs, it's a scintillating read.  Arendt died in 1975, Heidegger surviving her by some six months.

New York Post, November 1999.

In 1999, Rupert Murdoch’s (b 1931) tabloid the New York Post ran one of their on-line polls, providing a list of the usual suspects, asking readers to rate the evil to most evil, so to determine “The 25 most evil people of the last millennium”.  The poll received 19184 responses which revealed some “recency bias” (a cognitive bias that favors recent events over historic ones) in that some US mass-murderers were rated worse than some with more blood on their hands but most commented on was the stellar performance of the two “write-ins”: Bill Clinton (b 1946; US president 1993-2001) & crooked Hillary Clinton (b 1947; US secretary of state 2009-2013), the POTUS coming second and the FLOTUS an impressive sixth, Mr Murdoch’s loyal readers rating both more evil than Saddam Hussein (1937–2006; president of Iraq 1979-2003), Vlad the Impaler (Vlad Dracula or Prince Vlad III of Wallachia (circa 1430-circa 1477); thrice Voivode of Wallachia 1448-circa 1477 or Ivan the Terrible (Ivan IV Vasilyevich (1530–1584; Grand Prince of Moscow and all Russia 1533-1584 & Tsar of all Russia 1547-1584).

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

While fun and presumably an indication of something, on-line polls should not be compared with the opinion polls run by reputable universities or polling organizations, their attraction for editors looking for click-bait being they’re essentially free and provide a result, sometimes within a day, unlike conventional polls which can cost thousands or even millions depending on the sample size and duration of research.  The central problem with on-line polls is that responders are self-selected rather than coming from a cohort determined by a statistical method developed in the wake of the disastrously inaccurate results of a poll “predicting” national voting intentions in the 1936 presidential election.  The 1936 catchment had been skewered towards the upper-income quartile by being restricted to those who answered domestic telephone connections, the devices then rarely installed in lower-income households.  A similar phenomenon of bias is evident in the difference on-line responses to the familiar question: “Who won the presidential debate?”, the divergent results revealing more about the demographic profiles of the audiences of CBS, MSNBC, CNN, ABC & FoxNews than on-stage dynamics on-stage.

Especially among academics in the social sciences, there are many who object to the frequent, almost casual, use of “evil”, applied to figures as diverse as serial killers and those who use the “wrong” pronoun.  Rightly on not, academics can find “complexity” in what appears simple to most and don’t like “evil” because of the simple moral absolutism it implies, the suggestion certain actions or individuals are inherently or objectively wrong.  Academics call this “an over-simplification of complex ethical situations” and they prefer the nuances of moral relativism, which holds that moral judgments can depend on cultural, situational, or personal contexts.  The structuralist-behaviorists (a field still more inhabited than a first glance may suggest) avoid the word because it so lends itself to being a “label” and the argument is that labeling individuals as “evil” can be both an act of dehumanizing and something which reinforces a behavioral predilection, thereby justifying punitive punishment rather than attempting rehabilitation.  Politically, it’s argued, the “evil” label permits authorities to ignore or even deny allegedly causative factors of behavior such as poverty, mental illness, discrimination or prior trauma.  Despite the intellectual scepticism, the word “evil” does seem to exert a pull and its implications are such there's really no substitute if one is trying to say certain things.  In À la recherche du temps perdu (In Search of Lost Time (1913–1927)), Marcel Proust (1871-1922) left the oft-quoted passage: “Perhaps she would not have considered evil to be so rare, so extraordinary, so estranging a state, to which it was so restful to emigrate, had she been able to discern in herself, as in everyone, that indifference to the sufferings one causes, an indifference which, whatever other names one may give it, is the terrible and permanent form of cruelty.” 

There are also the associative traditions of the word, the linkages to religion and the supernatural an important part of the West’s cultural and literary inheritance but not one universally treated as “intellectually respectable”.  Nihilists of course usually ignore the notion of evil and to the post-modernists it was just another of those “lazy” words which ascribed values of right & wrong which they knew were something wholly subjective, evil as context-dependent as anything else.  Interestingly, in the language of the polarized world of US politics, while the notional “right” (conservatives, MAGA, some of what’s left of the Republican Party) tends to label the notional “left” (liberals, progressives, the radical factions of the Democratic Party) as evil, the left seems to depict their enemies (they’re no longer “opponents”) less as “evil” and more as “stupid”.

The POTUS & the pontiff: Francis & Donald Trump (aka the lesser of two evils), the Vatican, May 2017.

Between the pontificates of Pius XI (1857–1939; pope 1922-1939) and  Francis (b 1936; pope since 2013), all that seems to have changed in the Holy See’s world view is that civilization has moved from being threatened by communism, homosexuality and Freemasony to being menaced by Islam, homosexuality and Freemasony.  It therefore piqued the interest of journalists accompanying the pope on his recent 12-day journey across Southeast Asia when they were told by a Vatican press secretary his Holiness would, during the scheduled press conference, discuss the upcoming US presidential election: duly, the scribes assembled in their places on the papal plane. The pope didn’t explicitly tell people for whom they should vote nor even make his preference obvious as Taylor Swift (b 1989) would in her endorsement mobilizing the childless cat lady vote but he did speak in an oracular way, critiquing both Kamala Harris (b 1964; US vice president since 2021) and Donald Trump (b 1946; US president 2017-2021) as “against life”, urging Catholic voters to choose the “lesser of two evils.”  That would have been a good prelude had he gone further but there he stopped: “One must choose the lesser of two evils. Who is the lesser of two evils?  That lady or that gentleman? I don’t know.”

Socks (1989-2009; FCOTUS (First Cat of the United States 1993-2001)) was Chelsea Clinton's (b 1980; FDOTUS (First Daughter of the United States 1993-2001)) cat.  Cartoon by Pat Oliphant, 1996.

The lesser of two evils: Australian-born US political cartoonist Pat Oliphant’s (b 1935) take on the campaign tactics of Bill Clinton (b 1946; US president 1993-2001) who was the Democratic Party nominee in the 1996 US presidential election against Republican Bob Dole (1923–2021).  President Clinton won by a wide margin which would have been more handsome still, had there not been a third-party candidate.  Oliphant’s cartoons are now held in the collection of the National Library of Congress.  It’s not unusual for the task presented to voters in US presidential elections to be reduced to finding “the lesser of two evils”.  In 1964 when the Democrats nominated Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) to run against the Republican's Barry Goldwater (1909–1998), the conclusion of many was it was either “a crook or a kook”.  On the day, the lesser of the two evils proved to be crooked old Lyndon who won in a landslide over crazy old Barry.

Francis has some history in criticizing Mr Trump’s handling of immigration but the tone of his language has tended to suggest he’s more disturbed by politicians who support the provision of abortion services although he did make clear he sees both issues in stark moral terms: “To send migrants away, to leave them wherever you want, to leave them… it’s something terrible, there is evil there. To send away a child from the womb of the mother is an assassination, because there is life. We must speak about these things clearly.”  Francis has in the past labelled abortion a “plague” and a “crime” akin to “mafia” behavior, although he did resist suggestions the US bishops should deny Holy Communion to “pro-choice” politicians (which would have included Joe Biden (b 1942; US president 2021-2025), conscious no doubt that accusations of being an “agent of foreign interference” in the US electoral process would be of no benefit.  Despite that, he didn’t seek to prevent the bishops calling abortion is “our preeminent priority” in Forming Consciences for Faithful Citizenship, the 2024 edition of their quadrennial document on voting.  Some 20% of the US electorate describe themselves as Catholics, their vote in 2020 splitting 52/47% Biden/Trump but that was during the Roe v Wade (1973) era and abortion wasn’t quite the issue it's since become and a majority of the faith in the believe it should be available with only around 10% absolutist right-to-lifers.  Analysts concluded Francis regards Mr Trump as less evil than Ms Harris and will be pleased if his flock votes accordingly; while he refrained from being explicit, he did conclude: “Not voting is ugly.  It is not good.  You must vote.”