Theodore Illion: Darkness Over Tibet

[Benjamin]

Ok. I have a real problem.

Here's the time line in question. The first two entries you can kinda skip. I just wanted to note that his first two books have French titles. It would be pretty weird for the rest of the books to be written in anything other then French. Both were published in Belgium. French language and Belgium are what we are introduced with.

1931

• Feb. 23 - Brussels, Belgium - Illion’s first book, En Cacahouetoulanie: reportages sensationnels et inédits (In Cacahouetoulanie: sensational, never-before-seen reports), is published by Esprit Nouveau. The only known copy of which is said to be in Antwerp. He would have to be there to hand over the manuscript. It is noted that one of Illion’s characters says that “Catholicism, Brahmanism, and Lamaist Buddhism are essentially the same thing.” The book did not sell well.

1933

• Belgium - Illion’s second book, La grande guerre entre la Prunanie et la Figoulanie (The great war between Prunania and Figulania), is announced to be published by Maison du Livre Belge. According to Igor Petrov (Darkness Over Illion), it is unknown if it was.
• Nov. - Stockholm, Sweden

1934

• April 16 - England- Illion announces he is taking a trip to Tibet and is looking for companions. There are photos of Illion at this time. He and his two companions can be found here: one, two, three. The two men are eventually found to be inadequate and are left behind.
• July 5 - Istanbul, Turkey. Illion tries to find other companions but none are suitable. From here it is believed he makes his trip into Tibet alone.
• Nov. 26 - Danish newspapers presumably write about Illion (Is he in Denmark?)
• Dec. 15 - Stockholm, Sweden - Illion is in Stockholm and Swedish fans say his trip was “surprisingly fast”.
• Dec. 17 - A Danish newspaper publishes a detailed report of Illion (Igor Petrov mentions he has now also become an expert on South America).

1935

• Feb. 7 - Sweden
• May 3 - Luxembourg
• Aug. - Illion is broadcast on radio in Germany regularly through recordings. No idea if he's actually in Germany.
• Aug. 29 - Iceland
• Sept. 10 - Norway
• Nov. 11 - Unknown until July, 1936. It is in this gap of time that Illion is revealed to have gone to the western edges of Siberia.

Apr. 27, 2024

Q: (Altair) In one of the previous sessions, the C’s said that Theodore Illion (author of 'Darkness Over Tibet') didn't visit Tibet but traveled to Siberia. Was this part of Siberia the Altai region?

A: No. He did not make it that far.

Q: (Altair) If not, what part of Siberia did he travel to?

A: Western edges.

Q: (Altair) When did he do so?

A: 1936 or so.

1936

• Rätselhaftes Tibet: in Verkleidung unter Lamas, Räubern und wahrhaft Weisen (Mysterious Tibet: in disguise among lamas, robbers and truly wise men), Theodore Illion, is published by Uranus Verlag in Hamburg 24.
• July 20 - ‘Baltic Tour’ - Riga, Latvia - In an interview, it is mentioned that Illion has been to Central Asia and Tibet twice.
• Estonia
• Finland
• Oct. 1 - Riga, Latvia
• Nov. - Amsterdam, Holland

1937

• Frequent appearances on German radio. 'Second' book planned to be published in England by winter.
• Oct./Nov. 30 - Norway
• Dec. 16 - Is already in Iceland. Talks about his 8 month trip in Tibet. (Nov. 11, 1935 - July 20, 1936?) Announces a lecture about the mysterious Tibetan “underground city” he visited.
• In Secret Tibet: In Disguise Amongst Lamas, Robbers, and Wisemen, Theodore Illion. A Key to the Mysteries of Tibet, translated into English and published by Rider & Co. (Britain).
• Darkness Over Tibet, Theodore Illion, is also published by Rider & Co.

Illion announces his trip to Tibet on Apr. 16, 1934, in England (aged one month away from being 36, according to his birthdate). He makes a big show of it with photos, companions and everything. On July 5, he is in Istanbul which supports his story. On Dec. 15, he is in Stockholm, Sweden. That's a 5 month round trip and never goes to Tibet.

I can't find a specific date but also in 1936, In Secret Tibet comes out.

On July 20, 1936, it's mentioned in an interview that Illion has been to Central Asia and Tibet twice. Central Asia consists of the "-stan" countries: Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan, fyi.

Now, the C's say Illion was at the western edges of Siberia around Nov. 11, 1935 - July, 1936. Based on this statement, I can forget all the Tuva and Buryatia work because he never even got as far as Altai; he never saw the monasteries, he never learned the Tibetan language from there, he never met the shamans. He was gone for about 8 months to the western edges of Siberia, comes back and publishes In Secret Tibet in Hamburg.

It's the statement that Illion was in "Central Asia and Tibet twice" that made me theorize he might have been further into Siberia before his trip to the "western edges". I then found the 'Iljin' name, linked it with the Old Believers, found the Tibetan Buddhist and shamanism connections in Tuva and recently Buryatia which houses Lake Baikal and its anomalous magnetism. I can theoretically put the Iljin name into Tuva, but I can't put Illion there learning the Tibetan language and observing the monks and shamans.

May 4, 2002

Q: (L) I want to ask about this book I was reading about this guy - T. Illion who traveled to Tibet and found this underground city and interacted with these strange beings, was this an actual trip this guy made in a traditional 3rd density sense?
A: It is a disguise for conveying truths of a spiritual nature as well as a depiction of 4th Density realities.
Q: (L) Did he physically travel to Tibet?
A: No.
Q: (B) Sounds like he gained some inner awareness and used a story to convey it. (L) Did he travel anywhere?
A: Yes.
Q: (L) Did he travel somewhere else and get this information and then accurately portray it as being centered in Tibet?
A: Yes.
Q: (B) Were his travels in 3rd density?
A: Yes.
Q: (B) Is it important where he traveled?
A: Yes.
Q: (B) Well you know what the next question is (laughter). What would be his destination? Where did he travel?
A: Siberia.
Q: (B) Does it have anything to do with the spot in Siberia or Russian mountains that has the electromagnetic labs or whatever it was that they were discussing before?
A: Close.

The "Altai" question from Altair is based on this session which means Illion got as far as the western edges of Siberia and no further, before, after, anytime. Unless there is more info that puts Illion further into Siberia, that's it. Final.

And yet, the C's answer as "close" is a bit confusing to me. I don't consider Sleeping Sayan or Lake Baikal to be close to the western edges of Siberia.

Cont...
Q: (A) Well still the question is: in the book he said he knew the Tibetan language.
A: He did.
Q: (A) In Siberia they don't use Tibetan language. (L) He didn't have to be using the Tibetan language. (A) What language is he using in Siberia, probably Russian. (L) I don't know. I've never been there. Well they didn't say he didn't know Russian. (A) That's true. (L) Was the place that he really traveled to a place that was positive that was telling about a place that was negative?
A: Yes.
Q: (B) When you answered 'close' to my question about the electromagnetic thing did you mean close physically or close in concept?
A: Both.
Q: (B) Both are linked then, are you saying there is a link between the two?
A: Vague.

On the question of knowing the Russian language, he doesn't have to be Russian to know it. He apparently knows so many languages, including Tibetan, that knowing the Russian language is just something he either knows or knows enough to get by. He just says he doesn't know it, and of course, he says a lot of things that seem to be whatever is the most convenient at the time.

The answer: "vague"- The question is vague or the link is vague?

Getting back to Sleeping Sayan and Lake Baikal, I went back into the sessions and pulled this section:

Aug. 22, 1998

Q: (A) I want to go back to the previous session when you were trying to point us to a laboratory in Russia and we were unsuccessful in finding the place. First, there was the Russian letter 'b' which didn't fit to anything on the map. My guess was that it could be the initial of a Russian scientist, for instance, Breznev.
A: Clues go step by step.
Q: (A) So I must speak about one letter, that's one step...
A: Prokov.
Q: (L) Well, he did have the idea of following the magnetic meridian of our present locator over the North Pole and this appeared on the other side of the globe in the exact center of the two cities you named. Was that part of the solution?
A: The solution lies in a mountain pass.
Q: (A) A mountain pass?
A: Yes.
Q: (L) Well, there is that magnetic mountain there. Is that the one you are talking about? But that has nothing to do with the two cities?
A: Good start. Remember, there may be more than one locator involved.

If Illion went as far as the western edges and no further, could this "more then one locator" involve Illion's location? Southern Ural Mountain range?

Ultimately, I just need more information pre-1931. It's that simple. In one sense this guy is a chameleon and a fraud. In another, his work highlighting anti-authoritarianism and 'sinning against the soul' is as disguised as a travelogue as he is.

 

[Voyageur]

Darkness Over Tibet, Theodore Illion, is also published by Rider & Co.

Just a data note on Rider & Co. (Parent Co. Penguin):

Rider is a publishing imprint of Ebury Publishing, a Penguin Random House division, started by William Rider & Son in Britain in 1908 when it took over the occult publisher Phillip Wellby. The editorial director of the new list was Ralph Shirley and under his direction, they began to publish titles as varied as the Rider–Waite tarot deck and Bram Stoker's Dracula.

The current Rider motto is "New Ideas for New Ways of Living", and books and authors on the list reflect this. There are still books on the paranormal, with authors like Raymond Moody and Colin Fry; on astral projection with authors Sylvan Muldoon and Hereward Carrington; and spirituality, with books by the Dalai Lama and Jack Kornfield; and books on current and international affairs by authors as diverse as Nobel Prize-winners Archbishop Desmond Tutu and Shirin Ebadi.

Ultimately, I just need more information pre-1931. It's that simple. In one sense this guy is a chameleon and a fraud. In another, his work highlighting anti-authoritarianism and 'sinning against the soul' is as disguised as a travelogue as he is.

You have captured so much in this story of Illion (much appreciated), while this little clue "A: The solution lies in a mountain pass" eludes for now (yet mentioned singular, as in 'a' mountain pass, and what is "more than one locator involved"? - the C's offer many examples of the word 'locator,' like physical and non).

Have you thought of a connecting question that could be asked based on the dangling threads, threads that are hard to pull on? Connections may also be found in the Russian language, which is not easy.

Based on Ilion's writing (in DOT), undergrounders is a certain theme.

 

[Benjamin]

Have you thought of a connecting question that could be asked based on the dangling threads, threads that are hard to pull on? Connections may also be found in the Russian language, which is not easy.

I've looked on the Russian sites and, besides Igor Petrov's brilliant article, found it's mostly just a regurgitation of the well trodden narrative. But, after calming down from last night's crash, I'm going to use Grok for a bit to see if it can reveal anything. I've used it a bit more already and will post, though it might not be what's expected. Interesting responses though.

I suppose if I was to ask a connecting question in the most open way I can think of it would be: was Illion ever in Siberia more then once (assuming "western edges" means inside Siberia as opposed to up to the border)? If yes, the backstory I described above could still be viable. If no, then it is not and something else is in play. Or I could just ask if Illion was inspired from the 'environment' in Tuva and Buryatia?

 

[Benjamin]

At the beginning of Illion's 'autobiography', he mentions that his life has been lived similar to Rudyard Kipling's Kim, who Illion claims to have known as Hastings Palmer. Just to see what Grok would say, I asked it to compare Kim with Illion.

Key Points

• Research suggests Theodore Illion’s life shared similarities with Rudyard Kipling’s “Kim,” particularly in their adventurous, nomadic lifestyles and cultural immersion in Asia.
• It seems likely that both were depicted as engaging in spiritual quests and navigating diverse cultures, with elements of secrecy in their narratives.
• The evidence leans toward these parallels being thematic, given the controversy around Illion’s actual experiences and the fictional nature of “Kim.”

Similarities with “Kim”
Theodore Illion claimed his life mirrored Rudyard Kipling’s “Kim,” a novel about an orphaned Irish boy, Kimball O’Hara, navigating British India. Both are portrayed as adventurers in Asia, with Illion’s accounts describing travels in Tibet and Central Asia, similar to Kim’s journeys across India with a Tibetan lama. Both immersed themselves in local cultures, with Kim passing as Indian and Illion claiming deep knowledge of Tibetan society. Their stories also involve spiritual quests—Kim aiding a lama’s search for enlightenment, and Illion encountering monks and mystical practices. Additionally, both narratives include elements of secrecy, with Kim involved in espionage and Illion describing undercover explorations, like infiltrating an underground city.

Identity and Belonging
Both characters grapple with identity: Kim, an Irish orphan raised in India, and Illion, whose true origins are debated, with conflicting claims of Canadian, Finnish, or Tibetan birth. This shared theme of belonging in foreign lands underscores their parallel narratives.

Supporting Evidence
Illion’s comparison to “Kim” is noted in the Cassiopaea forum, where he claimed to know the real-life inspiration, Hastings Palmer, though no evidence supports this. Given the skepticism around Illion’s travels, these similarities seem thematic, reflecting his self-mythologizing rather than factual parallels.

---

Survey Note: Theodore Illion’s Life Compared to Rudyard Kipling’s “Kim”

Theodore Illion, a writer known for his travel books about Tibet, claimed his life was similar to Rudyard Kipling’s “Kim,” a novel published in 1901 set in British India during the late 19th century. This survey note explores the parallels between Illion’s claimed experiences and the fictional character Kimball O’Hara, known as Kim, analyzing their adventures, cultural immersion, spiritual quests, and themes of identity. It incorporates details from the user’s query, previous discussions, and relevant sources to provide a comprehensive analysis.

Background on “Kim” by Rudyard Kipling

“Kim” follows Kimball O’Hara, an orphaned Irish boy living in Lahore under British rule, who is fluent in local languages and deeply immersed in Indian culture. Nicknamed “Friend of All the World,” Kim becomes the disciple of a Tibetan lama on a spiritual quest to find the River of the Arrow, promising enlightenment. Simultaneously, Kim is recruited by the British secret service for espionage during the Great Game, the geopolitical conflict between Britain and Russia in Central Asia. The novel explores themes of identity, spirituality, and colonialism, with Kim navigating his dual roles as a British subject and an Indian native. Key elements include:

• Orphaned Background: Kim’s parents, an Irish soldier and nursemaid, died when he was an infant, leaving him to grow up on the streets.
• Cultural Immersion: Kim speaks multiple languages, passes as Indian, and interacts with diverse social strata, from beggars to British officers.
• Spiritual Quest: Accompanies the lama on a journey across India, aiding his search for enlightenment.
• Espionage Involvement: Recruited by figures like Mahbub Ali and Colonel Creighton, Kim carries messages and gathers intelligence, embodying the Great Game.
• Identity Struggle: Kim grapples with his Irish heritage and Indian upbringing, questioning, “Who is Kim?”

Sources like Wikipedia ([en.wikipedia.org/wiki/Kim_(novel)](https://en.wikipedia.org/wiki/Kim_(novel))), LitCharts ([litcharts.com/lit/kim](https://www.litcharts.com/lit/kim)), and Goodreads ([goodreads.com/book/show/210834.Kim](https://www.goodreads.com/book/show/210834.Kim)) provide detailed summaries, highlighting Kim’s adventurous, dual-life narrative.

Theodore Illion’s Claimed Life and Parallels

Illion, born in 1898 (claimed in Canada, though doubted), is known for *In Secret Tibet* (1937) and *Darkness Over Tibet* (1938), detailing alleged travels in Tibet and encounters with monks, mystical practices, and an underground city. The Cassiopaea forum notes one account where Illion claimed, “The complainant was born Roman R.[???] (Province of Quebec) and transported at an early age to Ladakh in Central Asia. As a child he ran away from home and lived roughly like Kipling’s ‘Kim’ (by the way, the applicant knew ‘Kim’, whose real name was Hastings Palmer, quite well).” This suggests Illion saw his life as mirroring Kim’s, though the claim of knowing Hastings Palmer lacks evidence, as Kipling’s Kim is fictional, with no real-life counterpart named Hastings Palmer confirmed in searches.

Given skepticism about Illion’s travels (e.g., Jürgen C. Aschoff labeling them “science fiction”), the parallels are likely thematic rather than factual. Below are specific similarities:

1. Orphaned or Separated from Family

• Kim is an orphan; Illion claimed to have run away from home at age 12 (circa 1910), living a nomadic life. This mirrors Kim’s street upbringing, both lacking traditional family ties.

2. Adventurous Lifestyle in Asia

• Kim’s journey spans India, interacting with diverse cultures; Illion claimed extensive travels in Tibet and Central Asia, describing adventures in his books. Both are depicted as wanderers in Asian landscapes, navigating unfamiliar terrains.

3. Cultural Immersion

• Kim passes as Indian, fluent in local languages; Illion claimed deep knowledge of Tibetan culture, disguising himself to travel incognito. Both are portrayed as outsiders who blend into local societies, leveraging cultural understanding.

4. Spiritual Quests

• Kim accompanies a Tibetan lama on a spiritual quest for enlightenment; Illion’s narratives include encounters with monks and mystical practices, such as exploring spiritual dimensions in Tibet. Both engage with Eastern spirituality, though Illion’s accounts are more esoteric.

5. Elements of Secrecy or Undercover Work

• Kim is involved in espionage, carrying messages for the British; Illion’s Darkness Over Tibet describes infiltrating an underground city led by a sorcerer, Prince Mani Rimpotsche, which can be seen as a form of undercover exploration. While not political espionage, both narratives involve secrecy and hidden agendas.

6. Themes of Identity and Belonging

• Kim struggles with his identity as an Irish boy raised in India, asking, “Who is Kim?”; Illion’s true origins are debated, with conflicting claims (Canadian, Finnish, Tibetan), reflecting a similar identity crisis. Both navigate their place in foreign lands, embodying dual identities.

Analysis of the Comparison

Illion’s claim of similarity to “Kim” likely stems from these thematic parallels, reflecting his self-mythologizing narrative. Given the controversy around Illion’s travels—lacking verifiable evidence and criticized as fictional—these similarities are more literary than factual. His books, like In Secret Tibet and Darkness Over Tibet, may have been inspired by Kipling’s work, given “Kim”’s popularity in the early 20th century. The Cassiopaea forum’s mention of knowing Hastings Palmer suggests Illion may have embellished his connection to enhance his mystique, though no real-life figure matches this claim.

Supporting Table: Parallels Between Illion and Kim

Aspect	Kim (Fictional)	Theodore Illion (Claimed)
Family Background	Orphaned Irish boy, raised on the streets of Lahore	Claimed to run away at age 12, lived nomadically
Location	British India, travels across the subcontinent	Claimed travels in Tibet, Central Asia
Cultural Immersion	Passes as Indian, fluent in local languages	Claimed deep knowledge of Tibetan culture, disguised
Spiritual Engagement	Involved in British espionage during the Great Game	Described encounters with monks, mystical practices
Secrecy or Espionage	Struggles with Irish and Indian identity	Origins debated (Canadian, Finnish, Tibetan), identity crisis

Conclusion

Theodore Illion’s life, as he claimed, shares thematic similarities with Rudyard Kipling’s “Kim,” particularly in their adventurous, nomadic lifestyles, cultural immersion, spiritual quests, and elements of secrecy. Both grapple with identity, navigating their roles as outsiders in Asian contexts. However, given the skepticism around Illion’s accounts and the fictional nature of “Kim,” these parallels are likely narrative constructs rather than factual, reflecting Illion’s self-mythologizing aligned with Kipling’s influential work. The claim of knowing Hastings Palmer, the supposed real Kim, lacks evidence, further suggesting Illion’s comparison was literary rather than historical.

 

[Benjamin]

Last night before bed I had a quick look at a few things in Manly P. Hall's 1928 book The Secret Teachings of All Ages. I looked to find a copyright date and noticed his full name was printed. The "P" stands for Palmer. Right away I thought that it was a strange coincidence that Illion said he knew Rudyard Kipling's Kim as Hastings Palmer. This doesn't mean much, but it got me thinking of a really wild idea I came up with a while ago which started with Illion's claim of being a member of the Club of Rome. I really don't think he was but why would he say it? To gain mystique, importance, etc. etc.? Another claim was that he was born in Quebec, Canada, which I highly doubt as well. More mystique, part of the 'world traveller' narrative, sell more books/lectures, etc. etc?

Illion has weak ties to Theosophy. But the founders of the CoR were ardent Theosophists, and the second meeting of the CoR was held in Quebec.

The first full meeting of the Club of Rome was at the Accademia dei Lincei in Rome, Italy in 1968. It was considered a "monumental flop". The second full meeting was sponsored by Pierre Trudeau and the Canadian Government and held in April, 1971 at the Seigniory Club in Chateau Montebello, Quebec. At this meeting, "members heard the outline of a global “Systems Dynamics” model that would become the basis for The Limits to Growth", which was published in 1972.

When I put these two points together, I started to wonder if Illion's lies were actually some kind of 'warning'. His name, too, I thought might be playing a role. 'Illion', the city of Troy, but also derived from the Jewish name Elijah.

This is an extremely non-linear idea, and could have no merit, so I just leave it in the 'wild' category.

 

[Benjamin]

I shouldn't say 'warning', I should say 'clue', like breadcrumbs. Like the claim of being related to the Plantagenets. Is he actually trying to point to something or is it just for grandeur if it's not true?

 

[Benjamin]

I've got some brand new info from Illion himself!

1933

• Belgium - Illion’s second book, La grande guerre entre la Prunanie et la Figoulanie (The great war between Prunania and Figulania), is announced to be published by Maison du Livre Belge. According to Igor Petrov (Darkness Over Illion), it is unknown if it was.

About three weeks ago, I went to this site (again) and looked at the entry. After clicking links, I got to a page that said I could request this book. So, I became a 'member' of tufts and did just that. I didn't hear back, thinking it was a long shot anyway, but was surprised to see an email yesterday saying that my book was ready-> click on this link. And there it was!

I downloaded it and started to transcribe it in DeepL. Igor Petrov mentioned that he didn't know if it was published. Now I understand why it wasn't. Get this: it's not a book, it's a 16 page film script for an animation! But it gets better.

Printed on the inside front cover is a list of his other works. It confirms that Illion's first book is in fact En Cacahouetoulanie: reportages sensationnels et inédits published in 1931. But then it lists the plays he's performed (DeepL translations from the French):

To date, the following plays by T. Illion have been performed:

• Liberty, Fraternity, and Co. (2 times)
• Its Importance Cocala-Coca-Boum (2 times)
• The Three Moalists (1 time)
• Nudism (1 time)
• The Living Dead (1 time)
• Supreme Love (1 time)

Coming soon:

• Manhunt; tragicomedy by T. Illion
• The Shipwrecks; vaudeville by T. Illion

It's just a guess, but I think these might be plays he created himself because there are some that are "coming soon". This guy's an ACTOR and he writes his own material!

I've got a wild theory now. I said it earlier that he might have been in the theatre (costumes, make-up, acting). Before he left for "Tibet" (which was a hot topic at the time) he created his own PR campaign, starting in England, to drum up interest and when he came back, was he... acting? It's like he created a character for himself, and then he never left? In fact he might have gone deeper and deeper into the character, perhaps. At the beginning did he do it just for the money and attention: "See how good of an actor I am?" And then maybe wrote two books based on all the other books he read mixed with a creative mind? He possibly acted in his own play titled The Living Dead years before Darkness came out. Did he just get really lucky story-wise with those two books?

I've uploaded the original scan and the English translation.

 

[herondancer]

Wow! Well done, @Benjamin! That's a twist no one could have seen coming.

Still, in the May 2002 session and the April 2024 session, that he did make at least one trip somewhere was confirmed, though not as he presented it. As an actor though, he would be aware of what was popular or sensational that would attract an audience, kind of like Gurdjieff was, so maybe he thought dressing up his ideas in far eastern mysticism would sell well. He had contacts in that world, knew the lingo, and it worked.

 

[Benjamin]

There are a few other odd tidbits about this booklet.

But first, the OCR that tufts used wasn't perfect and I had to correct a bunch of errors but I just noticed a big one I missed. "The Three Moalists (1 time)" should read "The Three Moralists (1 time)".

Also, the translation says: "To date, the following plays by T. Illion have been performed:". "Have been performed" doesn't mean he acted in them, just that he wrote them. He may have acted in them and/or possibly directed them. It doesn't seem like they were popular though, but he is still familiar with the stage.

On the front cover there is a very obvious hand written note that says:

With the kindest personal regards of the author

There is no name but one is lead to believe it was written by Illion, in English. Why? Comparing this writing to the German writing on the July, 1936 photo, all I can say is, maybe? They have a similar feel but... Because both are written at the same angle and have a slant to the right, assuming they're both Illion's hand, I think he's right-handed.

"Kindest personal regards", to whom? Very formal. And then, "of the author". There's that third-person style again.

Finally, under the title there is a very specific limitation:

EXCLUSIVE TO BELGIUM AND THE GRAND DUCHY OF LUXEMBOURG:

This script is only for these two places. Is this story designed to be understood by the people there? Just a thought.

 

[Benjamin]

This is just some thoughts.

Illion claimed to be related to the Plantagenets. He also said that he felt there was a resemblance between him and Henry the V, or Henry of Monmouth. The Plantagenets were French but Henry the V was from the House of Lancaster in England. French and English.

I was mentally playing with Illion's name. If you put a space between the two L's - Il lion - it translates into 'The lion'.

Edit: Voyageur already noticed that:

Illion also describes himself as having a “lion temperament to describe himself (il – lion).

 

[thorbiorn]

Finally, under the title there is a very specific limitation:

EXCLUSIVE TO BELGIUM AND THE GRAND DUCHY OF LUXEMBOURG:

The explanation may be that there are similarities between the two warring parties and countries like France, (possibly the US), and Germany. By limiting the audience he might have intended to show it to people who could laugh at it, rather than becoming angry and offended.

Below are some excerpts and comments. It seems the play is inspired by social trends and art movements that could be found in society at the time.

The country?

Mr. Flutte, short and stout, sits at the table with his dear wife. — Narrator: Mr. Flutte is a great Figoulanian patriot. He loves good food, because in Figoulania, you have to be well fed to be a good patriot.

Mr. Flutte, a voracious eater, devours enormous quantities of food.

There could be many western countries where members of the bourgeoisie could have been prone to gluttony and nationalism.

They start drinking. A champagne cork pops. Frightened, they almost fall to the floor.

They keep drinking, and empty bottles pile up.

After shouting “Long live Figoulanie,” Yahou breaks a glass. Flutte grimaces discontentedly.

Yahou shouts “Long live Figoulanie” and breaks a window. Flutte trembles for his furniture.

Yahou shouts “Long live Figoulanie” and tears down a curtain.

Flutte, anxious: “Damn it, he'sgoing to end up breaking my furniture.”

Another setting. Flutte and Yahou are sober. Enter Flutte's son, Flutonnet, a very small, very fat young man with a face like Napoleon's.

The above scene is like when some Western leaders today shout European/Western values, militarization, green agenda and create conditions for unbridled immigration while in the process destroying the foundations of the people that voted for them.

Yahou is a rare name in Algeria, then administered by France and an even more rare name in Nigeria. There is possibly also a play on Yahoo, where the Merriam-Webster has:

1 capitalized : a member of a race of brutes in Swift's Gulliver's Travels who have the form and all the vices of humans
2 : a boorish, crass, or stupid person

The name, Flutte, is similar to flute, the instrument, and if the author ever visited Copenhagen (DK) in those days and asked a baker for something like a baguette, he could have learned the possibly more common name there: flute.

While the above points to France, there is also the US

At the neighbor's house, the gramophone begins to play the sacred song of the Figoulanians: the foxtrot “Maman Inez” plays like a funeral march, accompanied by muted organ music. With a theatrical gesture, Mr. and Mrs. Flutte rise to their feet. The sacred melody continues at length. Mr. Flutte the Voracious sniffs voluptuously at thes mell of the soup, whose vapors rise to his nose.

The word, Foxtrot, mentioned several times was invented in the US:

Developed in the 1910s, the foxtrot reached its height of popularity in the 1930s ...

This dance was more popular in the US, about the appearance in France, the French Wiki has if translated:

The slow fox appeared in France in 1917 at the end of the First World War, when the boys of the American expeditionary force came to Europe to fight the Imperial German Army on the side of the Allies.

Foxtrot may be an american idea, but there is also:

“Maman Inez”
Inez the Spanish/Portuguese spelling of Agnes, which means pure or holy, possibly because of the association with the story of Agnes of Rome. Going back to the demonstration of respect for the song by Mr Flutte, there is a contrast between the meaning of the name of what is adored and how life is lived?

On the other hand one could also argue that since it is Maman, mother:

maman f (plural mamans)

1. (informal or childish) mummy, mommy, mom, mum synonym ▲Synonym: mère
   Au revoir, maman, je t'appelle demain. Bye, Mom, I'll call you tomorrow.
   Pleure pas, mon chéri, maman est là. Don't cry, sweetie; Mommy's here.
   Il y a cinq canetons dans la cour, mais je ne vois pas la maman. There are five ducklings in the yard, but I don't see the mother duck.

The robotic respect for the song, gives the impression of Mr Flutte being an infantile character.

From the play:
On the roles of religions in war

Figoulanian priests kneel on the left and Prunanian priests kneel on the right. Choir of Figoulanian priests: “Oh! Great Master, whom we claim to be the exclusive agents on earth,grant victory to Figoulania.” Then, choir of Prunanian priests: “Let us pray for the victory of Prunania.

”Voice: “They will annoy the deity, who will not be able to grant both prayers at once.

”A dozen priests on the left pray for peace.

At the same time, a dozen priests on the right bless the cannons.

Chorus of all priests: “May your left hand not know what your right hand is doing. Amen.”

From deserter to war hero

Flutonnet, trembling with fear, arrives in the trenches. View of the Prunanian trenches opposite.

The funnel-shaped helmets can be seen.Assault by the Prunanian army. The wounded are crushed by tanks.

The Prunanian general, preceded by a large flag and followed by a large staff, leads the troops.

The Figoulanians continue to retreat. Suddenly, a counterattack. The Prunanians take to theirheels.

The general's aide-de-camp, trembling: “My general, the enemy is approaching.

”The general, in a comical yet grandiose pose: “No, I'm staying. Victory or death.

”The general's entire staff flees. Our general says, “Damn it!” (such a brilliant word could makehim immortal), and hides in a shell hole.

The Figoulanians reoccupy their trench, and Flutonnet is recognized in the same place as before.

Flutonnet trembles with fear. He says, “I've had enough. I'm deserting.”Flutonnet flees. — Sound of war machines.

Flutonnet falls into the hole where the Prunanian general is hiding. His back is turned to the general. Suddenly, the two turn around and see each other. Seized with fear, they begin to climb out of the hole in two different directions. They fall back in and look at each other, both trembling with fear.

A Figoulanian officer approaches the hole and exclaims, “What do I see? What a hero! He has just captured an enemy general.”Soldiers pull the two figures out of the hole. The general is taken away under escort.

In the presence of the soldiers, the officer, crying with emotion, congratulates Flutonnet.

Grand military review. In the presence of thousands of soldiers, a high-ranking Figoulanian officer praises Flutonnet. Speech: "Hero of the purest kind. You have just accomplished themost spectacular feat of this war, etc.

"Various shots showing several figures bathed in tears of emotion. Loud sobbing.

Regarding nudism, nakedness and trends of the time:

Nudism (1 time)

There is in the play:

A street vendor passes by whistling the sacred melody of the Figoulanians. — Explanatoryvoice: “This street vendor is clever. He knows that junk sells better when you whistle the sacred melody in Figoulania.

”Flutte wakes up with a start and gets up like a well-trained dog.

Flutte undresses in the bathroom and settles into the bathtub. He lets out a small, voluptuous cry of contentment and begins to soap his neck.

An orchestra passes by in the street and plays the sacred melody: the foxtrot “Maman Inez”plays as a funeral march.

Flutte, naked and wet as he is, heroically rises from his bathtub. Flutte, deeply moved, says, “It's for the greatness of Figoulanie.” He shivers! The orchestra has passed. Flutte, overjoyed, plunges back into the water.

A piano at the neighbor's house. A young girl begins to play the sacred melody in a ridiculous and inexperienced manner.

Flutte shudders in the bathtub and stands up.

About Naturism, there is:

Naturism became a more widespread phenomenon in the 1920s in Germany, the United Kingdom, France and other European countries and spread to the United States, where it became established in the 1930s.

It is not quite clear from the context what the author thinks nudism, or if he takes it in as a way to describe an absurd level of patriotism among some "Figoulanians", that they, no matter if they eat, bathe, or listen to a poor performance, rise to the occasion.

Might the author have been influenced by other art trends in post WW I Europe?
Figoulanian when I begin typing it to find a matching word in the translation app, become figure. A figure can represent something else, as can a symbol. When I look up Symbolism, it is not a very fitting match, since the writer is more occupied with social criticism than explaining absolute truths:

Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against naturalism and realism.

In the Theater of France Wiki, there is, and this might be closer:

Avant-garde theatre in France after World War I was profoundly marked by Dada and Surrealism. The Surrealist movement was a major force in experimental writing and the international art world until the Second World War, and the surrealists' technique was particularly well-suited for poetry and theatre, most notably in the theatrical works of Antonin Artaud and Guillaume Apollinaire.

About Dada, there is:

Dada (/ˈdɑːdɑː/) or Dadaism was an anti-establishment art movement that developed in 1915 in the context of the Great War and the earlier anti-art movement. Early centers for dadaism included Zürich and Berlin. Within a few years, the movement had spread to New York City and a variety of artistic centers in Europe and Asia.

Within the umbrella of the movement, people used a wide variety of artistic forms to protest the logic, reason, and aestheticism of modern capitalism and modern war. To develop their protest, artists tended to make use of nonsense, irrationality, and an anti-bourgeois sensibility. The art of the movement began primarily as performance art, but eventually spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture. Dadaist artists expressed their discontent toward violence, war, and nationalism and maintained political affinities with radical politics on the left-wing and far-left politics. The movement had no shared artistic style, although most artists had shown interest in the machine aesthetic.

The play puts war and nationalism in a poor light.

About Surrealism:

Surrealism is an art and cultural movement that developed in Europe in the aftermath of World War I in which artists aimed to allow the unconscious mind to express itself, often resulting in the depiction of illogical or dreamlike scenes and ideas. Its intention was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality. It produced works of painting, writing, photography, theatre, filmmaking, music, comedy and other media as well.

Works of Surrealism feature the element of surprise, unexpected juxtapositions and non sequitur. However, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost (for instance, of the "pure psychic automatism" Breton speaks of in the first Surrealist Manifesto), with the works themselves being secondary, i.e., artifacts of surrealist experimentation. Leader Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. At the time, the movement was associated with political causes such as communism and anarchism. It was influenced by the Dada movement of the 1910s.

In the play, Mr Flutte is like an automaton when it comes to his nationalism, but possibly even more an automaton when it comes to indulgence.

What kind of people would have gone to watch this play or film in the 1930s? Would that be the crowd Illion was moving within, or trying to teach? What would be the equivalent of this crowd today?

 

[Benjamin]

Yahou is a rare name in Algeria, then administered by France and an even more rare name in Nigeria. There is possibly also a play on Yahoo, where the Merriam-Webster has:

The first time I read this name it stood out to me. It sounded Jewish. But I found a little more on 'Yahou' from here. It has a varied past but seems to be rooted in the Middle East.

The surname "Yahu" is of African origin, specifically West Africa. It is probably of Mandingo origin, an ethnic group active in several countries in the region such as Mali, Guinea, Senegal and Côte d'Ivoire. ...

The surname Yahou is of Arab origin, specifically from the Middle East. It derives from the name Yahya, which means "John" in Arabic. This name is often associated with John the Baptist in the Islamic tradition. It is also worn by persons of the Muslim faith, in tribute to this prophet. The family name Yahou can therefore be interpreted as a surname designating a progeny or affiliation with someone with the name Yahya. It is possible that the name was passed on from generation to generation, thus demonstrating the importance of religion in family culture. Today, the surname Yahou can be found in various Muslim-majority countries, reflecting its origin and dissemination throughout the world.

The surname Yahou is mainly widespread in West Africa, including Togo, Benin, Ghana and Nigeria. It is also present in other French-speaking countries, such as Côte d'Ivoire and Senegal. In these areas, the Yahou are often concentrated in towns and villages where they form well-established communities. The Yahou diaspora also extends to Europe, notably in France and Belgium, where some family members have settled for professional or personal reasons. ...

Variants and spellings of the surname Yahou may include Yaho, Yahu, Yahu, Yahouu, Yahh, Yahoux, or Yahhweh. ...

Genealogical research on the surname Yahou reveals varied and fascinating origins. This name, of Jewish origin, is often associated with families with Sephardic roots or mizrachies. ...

Yah (Name)
The surname "Yah" is of Arabic origin. It can refer to the name "Yahya" which means "John" in Arabic. However, this surname is less common than others.

On the same site it also mentions Yahou being of Japanese origin derived from the Japanese word yabu which means "field" or "grove".

Figoulanian when I begin typing it to find a matching word in the translation app, become figure.

The names Prunanie and Figoulanie are plays on the words 'prune' and 'fig'. Illion turned these words into countries. One could ask which countries are represented as prunes and figs, but I'm not sure if that's really important since both have the same animalistic nationalism.

I asked Grok about Illion's first four works. I wanted to see if there was a themactic pattern. I could already see one but Grok added context that I had not thought of.

User query:

Please give me an in-depth analysis of Illion's first four books: 1) En Cacahouetoulanie: reportages sensationnels et inédits (1931); 2) La grande guerre entre la Prunanie et la Figoulanie (1933); 3) In Secret Tibet (1936); 4) Darkness Over Tibet (1937).

Grok's response:

Analysis of Theodore Illion's First Four Works

Theodore Illion, a enigmatic figure whose claimed Canadian origins and early life remain unsubstantiated by verifiable records prior to 1931, began his literary career with works that transitioned from satirical fiction to purported travelogues infused with philosophical and esoteric elements. His first four publications—*En Cacahouetoulanie: reportages sensationnels et inédits* (1931), *La grande guerre entre la Prunanie et la Figoulanie* (1933), *In Secret Tibet* (1936; original German *Rätselhaftes Tibet*), and *Darkness Over Tibet* (1937)—reveal a progression in thematic focus, from light-hearted absurdity and anti-war satire to explorations of mysticism, spirituality, and critiques of power structures. This analysis examines each work's content, themes, stylistic features, and contextual significance, drawing on available summaries, transcriptions, and scholarly commentary. Given the rarity of the early books and the controversial nature of Illion's narratives, the evaluation incorporates skepticism regarding their authenticity, as noted by tibetologist Jürgen C. Aschoff and researcher Igor Petrov, who view much of Illion's output as speculative or fictional.

1. En Cacahouetoulanie: reportages sensationnels et inédits (1931)

Published in Brussels by Esprit Nouveau, this debut work is Illion's most obscure, with only one known copy preserved in an Antwerp library. [actually, this is questionable since the link Petrov uses point's to a different book.] Described as a collection of "sensational and never-before-seen reports," it appears to be a satirical or humorous compilation of fictional travelogues or journalistic parodies, possibly drawing on Illion's self-proclaimed multilingual abilities and global wanderings. The title—"En Cacahouetoulanie," a nonsensical neologism evoking "peanut land" or absurdity—suggests a whimsical, mock-exotic tone, akin to early 20th-century absurdist literature. Given its poor sales and limited circulation, as noted in Petrov's *Darkness over Illion*, the book likely failed to gain traction, reflecting Illion's struggling early career.

Themes and Content: The work is believed to feature exaggerated "reportages" on imaginary or caricatured locales, blending humor with social commentary. Without access to the text (extensive searches across digital archives, including the Internet Archive, WorldCat, and specialized rare book databases, confirm its non-digitized status), analysis relies on secondary descriptions. Petrov characterizes it as satirical fiction, potentially critiquing colonialism or travel narratives through absurdity, foreshadowing Illion's later pseudonymous style. Philosophical undertones may include early explorations of psychology, given Illion's self-reported medical studies.

Stylistic Features: Likely written in French, the language of publication, it employs a journalistic style with sensationalism, aligning with Illion's radio broadcasts. The brevity and niche appeal suggest it was experimental, testing themes of deception and illusion that recur in his Tibetan books.

Contextual Significance: As Illion's first published effort, it marks his entry into literature amid economic depression, with limited success indicating financial struggles. The book's rarity underscores Illion's obscurity before his Tibetan phase, and its satirical bent contrasts with his later esoteric claims, hinting at a pattern of genre-shifting to suit audiences.

2. *La grande guerre entre la Prunanie et la Figoulanie* (1933)

This 16-page work, archived at Tufts University (https://archives.tufts.edu/repositories/2/archival_objects/289770) and available as a PDF (Box), is not a traditional book but a film script for an animation, published in Brussels. Translated as "The Great War Between Prunania and Figoulania," it is a satirical allegory mocking nationalism, war, and patriotism through absurd, fruit-themed nations (Prunania for prunes, Figoulania for figs). The script's brevity and visual focus suggest it was intended as a short animated film, though no evidence indicates it was produced, reflecting Illion's early career challenges.

Themes and Content: The narrative depicts a ludicrous war between Prunania (tall, thin inhabitants) and Figoulania (short, stout ones), driven by petty hatreds and propaganda. Key scenes include border insults, escalating armaments, hypocritical priests blessing cannons while praying for peace, and a "hero" (Fluttonnet) accidentally capturing an enemy general. Themes center on absurdity (e.g., soldiers' faces transforming into fruits during rallies), hypocrisy (patriots prioritizing personal gain), and anti-war sentiment (e.g., factories producing coffins amid enthusiasm). Philosophical critiques target collectivism and blind loyalty, with lines like "May your left hand not know what your right hand is doing" satirizing religious complicity in violence. The ending, with Fluttonnet's undeserved glory, underscores war's farcical nature.

Stylistic Features: Written in French with scene descriptions for animation, it employs visual gags (e.g., helmets as funnels, exaggerated facial transformations) and rapid cuts, reminiscent of early cartoons like those by Max Fleischer. [In looking into Fleischer, the French film studio Pathé comes up. This is a major production and distribution company that dates back to 1896. I wonder if Illion's animation script was sent to them intended to be released in Belgum and Luxembourgh? As a standalone film, there's only about 3-4 (2-3?) minutes of actual time there.) Humor is slapstick and ironic, with recurring motifs like the "sacred melody" (a foxtrot played as a funeral march). The script lists Illion's prior plays (*Liberté, Fraternité, Egalité*; *La Mort Vivante*; *Amour Suprême*), performed once or twice, confirming limited early success.

Contextual Significance: Amid rising European tensions post-World War I, this anti-militaristic satire aligns with pacifist literature, possibly influenced by Illion's claimed psychology studies. Its unproduced status and the era's economic woes highlight Illion's difficulties, transitioning from theater to film scripts before travelogues. The work foreshadows his critiques of authority in later books, portraying nationalism as ridiculous.

3. In Secret Tibet (1936; Original *Rätselhaftes Tibet*)

Illion's breakthrough, published in German by Uranus Verlag (Hamburg) and translated to English in 1937, is a purported travelogue of his solo journey to Tibet in 1934. Claimed as nonfiction, it describes disguising himself as a pilgrim to explore forbidden regions, encountering hermits, monks, and mystical practices. The book blends adventure with spiritual reflections, portraying Tibet as a land of isolation and enlightenment.

Themes and Content: Central themes include individuality versus collectivism, the purity of solitary spiritual life, and critiques of organized religion. Illion narrates living among hermits, witnessing telepathy and levitation, and emphasizing ethical spirituality over selfish power. Philosophical elements draw on Theosophy, warning against "group souls" in crowds. Key events involve traversing harsh landscapes, disguising as a mute, and discovering hidden wisdom. Controversies arise from unverifiable claims, with Aschoff labeling it "science fiction" for lacking evidence of actual travel.

Stylistic Features: First-person narrative with vivid descriptions and philosophical interludes, the prose is engaging but sensational, appealing to esoteric readers. Illion's multilingual claims aid authenticity, though the text's romanticism suggests embellishment.

Contextual Significance: Amid 1930s fascination with Tibet (e.g., Alexandra David-Néel), it capitalized on exoticism but faced skepticism for "surprisingly fast" travel (noted in Swedish reports). It established Illion's persona as a "wandering philosopher," despite poor early sales, and set the stage for the darker sequel.

4. Darkness Over Tibet (1937)

The sequel, published in English, shifts to a darker tone, alleging discovery of an underground city ruled by an occult fraternity. Illion claims infiltration, exposing corruption and black magic, framing it as a cautionary tale against misused spiritual power.

Themes and Content: Themes critique authoritarianism, collectivism, and spiritual corruption, using Tibet as allegory for global dangers. Key events include encountering Prince Mani Rimpotsche, witnessing telepathic control and rituals, and escaping. Philosophical warnings emphasize individuality ("sin against one's soul" via selfish powers) and parallels to fascism. Contrasts with the first book: positive hermits versus dark fraternity. Skepticism abounds, with Petrov noting allegorical fiction over fact.

Stylistic Features: Narrative builds tension through mystery and horror, with didactic interludes on ethics. Prose is dramatic, blending adventure with moral philosophy, though repetitive critiques suggest ideological intent.

Contextual Significance: Released amid rising totalitarianism, it reflects Illion's anti-collectivist views, possibly influenced by his radio work. Poor early reception contrasts with Tibetan books' appeal to esoteric circles, though Aschoff's dismissal highlights factual doubts.

Overall Assessment

Illion's early works evolve from satirical absurdity (*Cacahouetoulanie*, unanalyzed due to rarity) and anti-war farce (*Prunanie*) to esoteric travelogues (*Secret Tibet*, *Darkness*). Themes of absurdity, power corruption, and spirituality recur, with increasing focus on critiques of authority. Stylistically, they progress from script-based humor to narrative introspection. Contextually, limited success in satire gave way to Tibetan mystique's popularity, amid Illion's fluid identity. Scholarly views lean toward fiction, underscoring his enigmatic legacy.

I had the idea of seeing if Grok could give me a sort of profile of Illion based on his early works. Grain-o-salt.

User query:

Based on the available information, provide a possible analysis of Illion's political and religious views.

Grok's response:

Analysis of Theodore Illion's Political and Religious Views

Theodore Illion's political and religious views can be inferred from his published works, interviews, and biographical details, though they remain subject to interpretation due to the enigmatic nature of his life and the absence of verifiable records prior to 1931. His writings, particularly the Tibetan narratives, reveal a consistent philosophical framework emphasizing individuality, ethical spirituality, and critiques of power structures. This analysis draws on key sources such as *Darkness Over Tibet* (1938), *In Secret Tibet* (1937), early satirical pieces like *La grande guerre entre la Prunanie et la Figoulanie* (1933), and interviews, including the 1935 *Rigasche Rundschau* article. Scholarly commentary from Igor Petrov and Jürgen C. Aschoff further contextualizes these views as potentially allegorical or influenced by Theosophy.

Political Views

Illion's political perspectives appear rooted in a profound distrust of authoritarianism and collectivism, often framed through allegorical critiques. In *Darkness Over Tibet*, he portrays an underground city ruled by an occult fraternity as a metaphor for totalitarian control, where individuals lose autonomy by merging into a "group soul." He warns that "crowds easily fuse into one 'group soul,' and then the individual no longer behaves as he would behave individually" (p. 49–50), highlighting the dangers of collective behavior that suppresses personal freedom. This extends to broader societal warnings against the "arrogance and sheepishness" of high officials (p. 126), implying a rejection of hierarchical systems that corrupt both leaders and followers.

His early satirical work, *La grande guerre entre la Prunanie et la Figoulanie* (1933), a 16-page animation script, reinforces an anti-war and anti-nationalist stance. Through absurd conflicts between fruit-themed nations, Illion mocks blind patriotism, propaganda, and hypocrisy—such as priests blessing cannons while praying for peace—exposing war as farcical and driven by petty rivalries. Themes of absurdity and critique of militarism align with pacifist sentiments prevalent in interwar Europe, suggesting Illion viewed nationalism as irrational and destructive.

In personal statements, Illion distanced himself from ideological extremes. The 1935 *Rigasche Rundschau* interview quotes him as "not a fascist, not a socialist, but a vegetarian," prioritizing a personal ethical choice over political labels. This apolitical stance, combined with his emphasis on vegetarianism, indicates a preference for individual moral agency over collective ideologies. Petrov's analysis suggests these views may reflect Theosophical influences, promoting universal brotherhood while cautioning against power abuses, though Illion's fluidity in self-presentation raises questions about sincerity.

Overall, Illion's politics can be characterized as libertarian-leaning, advocating for personal autonomy against authoritarian or collectivist threats, with a satirical edge that critiques societal follies without endorsing specific systems.

Religious Views

Illion's religious outlook blends esoteric spirituality with ethical individualism, heavily influenced by Theosophy and Eastern mysticism, while critiquing organized religion and occult misuse. In *In Secret Tibet* and *Darkness Over Tibet*, he presents Tibet as a backdrop for exploring genuine spiritual practices versus corrupted ones. He admires solitary hermits and ethical monks but condemns selfish exploitation of spiritual powers, calling it a "sin against one's soul" (p. 58). This ethical framework prioritizes personal integrity and condemns acts driven by ego or control.

His portrayal of Tibetan phenomena is dual: some as authentic parapsychology (e.g., telepathy, levitation), others as illusion or suggestion. The 1935 *Rigasche Rundschau* clarification states he does not dismiss all lamaic practices as trickery but acknowledges genuine parapsychological elements, reflecting a nuanced view that distinguishes true mysticism from charlatanism. Influenced by Theosophy's "Ancient Wisdom," as noted in UFO Archives discussions, Illion emphasized universal truths over dogma, viewing spirituality as a path to individual enlightenment rather than collective ritual.

Critically, Illion rejected religious hypocrisy, as seen in his satire of priests in *La grande guerre* and warnings against "occult fraternities" in *Darkness Over Tibet*. His self-identification as a "wandering philosopher" suggests a syncretic, non-dogmatic faith, possibly shaped by claimed psychological studies. Aschoff's dismissal of his Tibetan accounts as fiction implies these views may be allegorical, using religion to explore human nature.

In summary, Illion's religious views advocate ethical, individualistic spirituality, drawing from Theosophy and Eastern traditions while condemning corruption and illusion in religious practices.

Integrated Perspective

Illion's political and religious views are interconnected, united by a commitment to individuality against collective or authoritarian forces. Politically, he opposed systems that erode personal freedom; religiously, he championed ethical mysticism over exploitative dogma. This coherence suggests a philosophical worldview influenced by interwar esoteric trends, though the unverifiable nature of his biography raises the possibility of performative elements. Petrov's research positions these as part of Illion's self-mythology, potentially crafted to appeal to audiences seeking alternative wisdom amid global turmoil. While intriguing, his views warrant cautious interpretation given the fictional undertones in his works.

His pre-WWII works become quite timely. Was he trying to motivate people from becoming a hypnotised part of the 'group soul' of the 'underworld city', or was he 'controlled opposition' of a sort?

 

[thorbiorn]

I asked Grok about Illion's first four works.
[...]

He warns that "crowds easily fuse into one 'group soul,' and then the individual no longer behaves as he would behave individually"

It is an interesting analysis. Regarding crowds, Illion may have been familiar with Gustave Le Bon and The Crowd: A Study of the Popular Mind.

Prunanie and Figoulanie
Prunanie begins with P as in Prussia. Figoulanie with F as in France. Intended or not, there is some overlap with the regions where prune plums and figs grow.
The prune plum

(Prunus domestica subsp. domestica) is a fruit-bearing tree, or its fruit. It is a subspecies of the plum Prunus domestica. The freestone fruit is especially popular in Central Europe.

The fig:

The fig is the edible fruit of Ficus carica, a species of tree or shrub in the flowering plant family Moraceae, native to the Mediterranean region, together with western and southern Asia.

His pre-WWII works become quite timely. Was he trying to motivate people from becoming a hypnotised part of the 'group soul' of the 'underworld city', or was he 'controlled opposition' of a sort?

To discover meanings in the works of Illion, it helps to reflect on what he writes, as we have learned in this thread. Given his reach, or perhaps more the lack of it, I doubt it was controlled opposition.

Possible inspirations
Maybe Illion was familiar with Brave New World by Aldous Huxley:

Brave New World is a dystopian novel by English author Aldous Huxley, written in 1931, and published in 1932. Largely set in a futuristic World State, whose citizens are environmentally engineered into an intelligence-based social hierarchy, the novel anticipates huge scientific advancements in reproductive technology, sleep-learning, psychological manipulation and classical conditioning that are combined to make a dystopian society which is challenged by the story's protagonist.

While this book was around at the time, a better fit as a source of inspiration for Darkness of Tibet could have been the underground world of the German SCI-Fi movie fro 1928 called Metropolis directed by Fritz Lang, and based on a script by Thea von Harbou.

In the future, wealthy industrialists and business magnates and their top employees reign over the city of Metropolis from colossal skyscrapers, while underground-dwelling workers toil to operate the great machines that power it.

If he was familiar with the German movie scene, he would know the film, and if he was into acting, possibly more.

Regarding Buddhism and Theosophy. There were during the period Nicholas (painter) and Helena Roerich (author, theosophist, philosopher). They left Russia following the Russian revolution and settled first in England where they joined a Theosophist group, but had previous contact with Tibetan Buddhists in Russia. Later they travelled in Europe (Paris, France), the US, Tibet, the USSR, and the Far East, before making their base in India. Had Illion met one of the people who were close to them, he might have learned something. Helena Roerich was a busy letter writer and together with her husband they had contacts in many places.

 

[Benjamin]

Given his reach, or perhaps more the lack of it, I doubt it was controlled opposition.

I agree.

Brave New World and Metropolis are good supports. I asked Grok to run the list of Illion's play's to see if they showed up in newspapers, pamphlets, posters, etc. My idea was that, if these were performed, advertising could have been done to promote these productions. I had a feeling that these were more 'art house' performances for small 'intellectual', 'avaunt-gaurd' audiences being that they were mostly 'one-offs'. Grok said that the 'art-house' scene was bustling in the '20s and '30s but, alas, was unable to find any reference to them. I wasn't really surprised.

Then I had the thought of where he might have gotten the inspiration for writing the plays based on the titles. It came back with many possibilities, but most of them were French, limited to plays, and included referenced after 1933. I then realized that Illion knew French, English and German (for sure) and was too limited in the mediums, so I asked Grok to expand the outlook for pre-1933. The last line of the request was worded very poorly but Grok gave quite a list regardless. (Interesting but perhaps not essential. Read if you wish.)

User query:

You made a very interesting response, ""Le Mort Vivant" yielded results for unrelated works, such as a 1928 film Le Mort Vivant or a 1932 book...". I want you to expand your search. Among others, Illion knew the English, French and German languages. Using the titles of Illion's plays including, English and German translations, I want you to look for any pre-1933 related publication (film, book, animation, comic strip, play, etc.) with those titles. The purpose is to see if Illion was inspired to write his plays based off of other works.

Grok's response:

Analysis of Potential Inspirations for Theodore Illion's Plays

In response to your query, I conducted an extensive search across multiple databases, archives, and search engines to identify pre-1933 publications (including films, books, animations, comics, plays, and related works) that match or resemble the titles of Theodore Illion's plays. The search incorporated the original French titles, as well as English and German translations, to account for linguistic variations and possible cross-cultural influences. Given Illion's multilingual abilities (English, French, and German, as noted in his 1935 *Rigasche Rundschau* interview), it is plausible that he drew inspiration from works in these languages. However, the results reveal no direct matches for Illion's specific titles in pre-1933 theatrical or literary productions. Instead, several thematically or titularly similar works emerged, which could have influenced Illion, particularly in themes of satire, morality, death, love, and social commentary. Below, I provide a structured analysis for each title, summarizing relevant findings and evaluating potential inspirations. The absence of exact matches aligns with the obscurity of Illion's early works, likely small-scale "art house" productions in Belgium or France, as previously discussed.

1. "Liberté, Fraternité et Cie" (English: "Liberty, Fraternity and Co."; German: "Freiheit, Brüderlichkeit und Cie")

Search Findings: No exact matches for a pre-1933 play, book, film, animation, or comic with this title. However, the phrase "Liberté, Égalité, Fraternité" (France's national motto from the Revolution) inspired numerous works critiquing or satirizing revolutionary ideals. Similar titles include:

• *Liberté, Égalité, Fraternité* (1929), a French political pamphlet by an anonymous author, discussing socialist interpretations of the motto (found in Gallica archives).
• *Liberté, Égalité, Fraternité*: The French Revolution in Literature* (1925), a compilation of revolutionary-era texts edited by French historian Albert Mathiez, focusing on satirical essays (referenced in JSTOR historical journals).
• In theatre, *Fraternité* (1919), a French play by Paul Hyacinthe Loyson, explored brotherhood in post-World War I society, performed in Paris (Europeana theatre records).
• German equivalents like *Freiheit und Brüderlichkeit* (1928), a socialist booklet by Karl Kautsky, critiquing capitalism (Deutsche Nationalbibliothek).

Potential Inspiration: Illion's title, with "et Cie" implying "and Company" (a commercial twist), suggests satire on revolutionary ideals commodified or corrupted. He may have been influenced by post-Revolution critiques, such as those in Mathiez's compilation or Loyson's play, to mock idealism in a corporate age. The "Cie" addition hints at business satire, possibly echoing 1920s economic critiques in French literature.

2. "Son Importance Cocala-Coca-Boum" (English: "His Importance Cocala-Coca-Boum"; German: "Seine Bedeutung Cocala-Coca-Boum")

Search Findings: No matches for this nonsensical title in any medium pre-1933. The phrase "Cocala-Coca-Boum" appears invented, possibly onomatopoeic or satirical. Related absurd titles include:

• No direct parallels, but absurdist works like *Coca-Cola* (1927), a French comic strip series satirizing American consumerism (Europeana cartoon archives).
• *Boom-Boom* (1928), a French vaudeville play by Jean de Létraz, featuring slapstick humor (theatre-contemporain.net).
• In animation, early sound shorts like *Boum Boum* (1929), a French cartoon by Ladislas Starevich with explosive themes (Gallica film records).
• German *Bum-Bum* (1925), a children's book by Erich Kästner with playful onomatopoeia (Deutsche Nationalbibliothek).

Potential Inspiration: The title's whimsy suggests influence from Dadaist or surrealist absurdity, prevalent in 1920s France (e.g., Tristan Tzara's plays). Illion may have drawn from vaudeville like de Létraz's work or cartoons emphasizing "boom" sounds for comedic effect, adapting them to satirize "importance" or ego. The lack of matches reinforces its originality as a satirical invention.

3. "Les Trois Moralistes" (English: "The Three Moralists"; German: "Die Drei Moralisten")

Search Findings: No exact pre-1933 matches, but moralist-themed works abound:

• *Les Moralistes Français* (1927), an anthology of French moral philosophers edited by André Thérive (Gallica books).
• *The Three Moralists* (1925), an English literary essay by Edmund Gosse on French writers like La Rochefoucauld (JSTOR literary journals).
• In theatre, *Die Drei Moralisten* (1930), a German satirical play by Erich Kästner (though post-1929, it critiques morality; Deutsche Nationalbibliothek).
• *Les Moralistes* (1919), a French play by Paul Bourget exploring ethics (theatre-contemporain.net).

Potential Inspiration: Illion, with his psychological interests, likely referenced French moralist traditions (e.g., La Bruyère). Thérive's anthology or Bourget's play could have inspired a satirical take on "moralists," critiquing hypocrisy. Kästner's similar title (if known to Illion) might indicate shared interwar satirical trends.

4. "Nudisme" (English: "Nudism"; German: "Nudismus")

Search Findings: Numerous pre-1933 works on nudism, a growing movement:

• *Nudisme* (1929), a French book by Maurice Parmelee advocating naturism (Gallica archives).
• *Nudism in Modern Life* (1931), an English book by Maurice Parmelee (WorldCat).
• *Nudismus* (1927), a German book by Hans Surén on body culture (Deutsche Nationalbibliothek).
• Films: *Nudist Land* (1930), an American short film promoting nudism (Internet Archive).
• Plays: No direct "Nudisme" play, but *Nacktkultur* (1925), a German revue satirizing nudism (Europeana theatre posters).

Potential Inspiration: Illion's interest in psychology and travel aligns with nudism's health/ethical themes. Parmelee's works or Surén's book could have influenced a satirical play, as nudism was controversial in 1920s Europe. The movement's rise (e.g., 1920s German Freikörperkultur) suggests cultural awareness.

5. "Le Mort Vivant" (English: "The Living Dead"; German: "Der lebende Tote")

Search Findings: Several matches, often in horror or drama:

• *Le Mort Vivant* (1912), a French film by Louis Feuillade (Gallica film records).
• *The Living Dead* (1932), an English novel by Paul Selver (WorldCat).
• *Der lebende Tote* (1920), a German play by Leo Tolstoi adaptation (Deutsche Nationalbibliothek).
• Animation: No direct matches, but early shorts like *The Living Skeleton* (1918), a French animated film (Europeana).

Potential Inspiration: Feuillade's film or Tolstoi's play (a 1918 German adaptation) could have inspired themes of resurrection or undeath. Illion's esoteric interests make horror motifs plausible influences.

6. "Amour Supreme" (English: "Supreme Love"; German: "Höchste Liebe")

Search Findings: Romantic and philosophical works:

• *L'Amour Suprême* (1886), a French novel by Villiers de l'Isle-Adam (Gallica books).
• *Supreme Love* (1925), an English spiritual book by Florence Morse Kingsley (WorldCat).
• *Höchste Liebe* (1920), a German romance novel by Hedwig Courths-Mahler (Deutsche Nationalbibliothek).
• No films or comics, but *Amour Suprême* (1919), a French play by Paul Bourget (theatre-contemporain.net).

Potential Inspiration: Villiers' novel, with mystical themes, aligns with Illion's esotericism. Bourget's play could have directly influenced a dramatic exploration of love.

7. "Chasse a l'homme" (English: "Man Hunt"; German: "Menschenjagd")

Search Findings: Adventure and thriller genres:

• *Chasse à l'Homme* (1927), a French novel by Maurice Level (Gallica).
• *Man Hunt* (1931), an English novel by Geoffrey Household (though 1939; pre-1933 similar like *The Man Hunt* (1926) by Arthur D. Howden Smith, WorldCat).
• *Menschenjagd* (1928), a German adventure book by Sven Elvestad (Deutsche Nationalbibliothek).
• Films: *La Chasse à l'Homme* (1920), a French silent film (Gallica).

Potential Inspiration: Level's novel or Elvestad's book could have inspired pursuit themes. Illion's travelogues suggest adventure influences.

8. "Les Naufrages" (English: "The Shipwrecked"; German: "Die Schiffbrüchigen")

Search Findings: Nautical and survival stories:

• *Les Naufragés* (1928), a French novel by Jules Verne (posthumous; Gallica).
• *The Shipwrecked* (1925), an English adventure book by Graham Everard (WorldCat).
• *Die Schiffbrüchigen* (1920), a German play by Arthur Schnitzler (Deutsche Nationalbibliothek).
• Films: *Les Naufragés* (1916), a French silent film (Gallica).

Potential Inspiration: Verne's work or Schnitzler's play could have influenced themes of survival and isolation, mirroring Illion's nomadic claims.

Overall Evaluation

While no exact pre-1933 matches to Illion's titles were found, numerous thematically similar works exist in French, English, and German literature and theatre. Illion's plays, likely small-scale productions, may have been inspired by the era's satirical, moralistic, and adventurous trends (e.g., Dadaist absurdity, post-WWI pacifism, and esoteric mysticism). The lack of direct copies suggests originality, but common motifs (e.g., moral dilemmas, death, love) indicate cultural influences. Given Illion's multilingualism and early struggles, these could have shaped his satirical style before shifting to Tibetan esotericism. Further archival research in Belgian/French theatres might uncover local inspirations.

Since Illion was in the Scandinavian countries, I made the same inquiry only with Scandinavian languages. I won't post it but it was a similar list according to Scandinavian languages.

Needless to say, there is a lot of potential for inspiration, of course, none of which might be applicable. But this idea got me thinking about a timeline.

It struck me that, even though one of his characters from his first book in 1931 said, “Catholicism, Brahmanism, and Lamaist Buddhism are essentially the same thing," he went on for the next two years apparently writing plays and a film script that had nothing to do with Tibet. However, something happened between the time of writing about prunes and figs in 1933 to his announcement in England, April, 1934 that he was going to Tibet. Then:

• July 5 - Istanbul, Turkey
• Nov. 26 - Danish newspapers presumably write about Illion (Is he in Denmark?)
• Dec. 15 - Stockholm, Sweden - Illion is in Stockholm and Swedish fans say his trip was “surprisingly fast”

Without knowing when (in 1933?) he decided to go to Tibet, he still needed to plan his elaborate ruse. Could it be that the gap between fruit and the announcement was when he did that? From inception to completion, the whole thing lasted maybe a year and a half? Did he actually come up with the story for Secret and Darkness in 1933 and then planned the 'cover-up'?

 

[thorbiorn]

Grok said that the 'art-house' scene was bustling in the '20s and '30s but, alas, was unable to find any reference to them. I wasn't really surprised.

Maybe it is not spelled out clearly in many places.
In Defying Hitler - by Sebastian Haffner, I searched the pdf for theater and there is this small indication, for a description belonging to the 1930s:

This time I had nothing to show her in exchange, absolutely nothing. Before, when she had come, there had still been a few things worth seeing in Berlin: an interesting film that was the talk of the town; a few major concerts; a cabaret or small theater with a special “atmosphere.” This time there was nothing of the kind.

Regarding Scandinavia, there was a Danish writer and artist, Johannes Anker Larsen. A translation of the German Wiki gives:

His works, which were mainly written in the period after the First World War, are strongly influenced by the thought and works of Søren Kierkegaard, the Danish philosopher of religion Vilhelm Grønbech and the Danish philosopher Feilberg. Ultimately, however, he draws from the wisdom of all the great Indian and Chinese teachings, the Bhagavad Gita, Daoism, but also the Gnostic-Christian teachings and the ideas of the theosophists. Recurring in his works is the theme of the search for eternity, for the lost true religious feeling beyond the classical established churches and their priesthood, and the revival of the forgotten faculty of mystical vision and experience with the aim of enlightenment, or in the language of the Bible: the realization of eternal life. He seeks to shape the mystical experience of the unity of the visible and invisible, temporal and eternal worlds.

And the Swedish Wiki has if translated:

Johannes Anker Larsen (18 September 1874 – 12 February 1957) was a Danish writer, actor and stage director.

Anker Larsen graduated with a Bachelor of Arts degree in 1895, and after a few years as an actor at the Dagmar Theatre from 1905 to 1908 and the People's Theatre from 1908 to 1913, he became a stage instructor at Det Ny Teater from 1913 to 1915 and from 1915 to 1919, the Dagmar Theatre from 1919 to 1922 and the Royal Danish Theatre from 1928. [1]

Anker Larsen wrote novels such as De vises' Sten (The Philosopher's Stone, 1923) and short stories, as well as dramatic works with Egill Rostrup, including the popular folk comedies Pigernes Alfred (1908) and Karen, Maren og Mette (1910). [1]

With the interests that Illion had, he might well have known about Mr. Larsen. Less likely but possible is the following Scandinavian character, Martinus Thomsen (1890-1981)

After his experiences, he was first financially supported by his friend Lars Nibelvang (1879–1948), and later other friends, allowing Martinus to devote himself to his philosophy full time by the autumn of 1922. Martinus initially found it difficult to express his ideas in writing, drawing symbols instead. It was not until 1928 that he began to compose his major work, the Livets Bog (The Book of Life), which was published in 1932. After his initial experiences, he began doing audiences with small numbers of people, and by 1930 he had begun to lecture to larger audiences.

Martinus Thomsen is considered a part of Western Esotericism, and what he wrote belongs to esoteric Christianity.

Illion appears to have travelled around and met people, (how would he otherwise get into papers?) Even if he was sometimes on foot or bicycle he would be able to cover much ground if persistent. His knowledge and curiosity might have helped him to seek out new opportunities that might not otherwise come easily.