“The Murderess” (1903) holds, by general consensus, a special place in the work of Papadiamantis (1851-1911). Special in both senses of the word: unique and outstanding. Without “The Murderess,” this work would remain incomplete, at least as far as the problem of evil is concerned, a problem that dominates the Papadiamantic corpus. The Papadiamantic evil is, as a rule, the everyday, the current evil, often suffocatingly miserable; it is the evil of the ordinary, normal person. Papadiamantis’ evil is not crime, not the extreme transgression that endangers the very existence of the community; it is not exceptional, it is commonplace. Exception: “The Murderess,” and indeed a significant one, as it is a pinnacle text not only of its author but of all modern Greek prose. Without “The Murderess,” the Papadiamantic work would be entirely different. The evil committed by the old woman Hadoula is not the everyday evil, the usual, the social, but the great evil, the radical, the unforgivable. But who is this Frangoyannou, what kind of person is this woman who commits such an extreme crime? And what is it that leads her to dare to do it?