The term "pseudonym" has long served as a versatile literary device, functioning both as a marker of artistic identity and as a means of concealing one's true self. In the works of Rabelais and Stendhal, authors employ pseudonyms—such as Claudio Gallitalo [1] and the specially crafted names for intimate circles [2]—to add layers of humor, ambiguity, or secrecy to their narratives. Similarly, in philosophical and poetic spheres, figures like the writer known as Asmus [3] or the Welsh poet Sion Cent [4] have used pseudonyms to highlight their multifaceted personas. The word's use extends into specialized fields and genres, appearing in titles and scientific contexts as seen in Ukers' work on coffee [5], while in the realm of occult literature and mysticism, figures like Papus [6], Olibrio [7], and Eliphas Lévi [8] have adopted alternate names to craft enigmatic public images. This tradition continues in journalism with Guy de Maupassant’s “Maufrigneuse” [9] and in historical compilations where identities merge, as with Joannes Barbatus in Mandeville’s travels [10]. Even in epistolary forms, as evidenced by Grimm’s Lettres Parisiennes [11] and Edgar Allan Poe’s introspection over the pseudonym “Snob” [12], the practice underscores a dynamic interplay between public persona and private individuality—a practice further exemplified by the mystic transformation of Johannes Scheffler into Angelus Silesius [13].