Sarkis Atamian - The Origin Of Tarzan: The Mystery Of Tarzans Creation Solved

E dgar Rice Burroughs (1875-1950) remains a literary phenomenon whose genius has inspired an army of eager imitators as well as an opposing army of detractors. But all genius must have its roots in existing ideas and influences, and few Burroughs scholars have come closer to the mark than Sarkis Atamian in tracing these roots. The Origin of Tarzan must surely be added to the existing reference sources as a milestone of research and enlightenment.

Genius is a term generally reserved for those whose mental faculties are not understood, and therefore mysterious. Yet Goethes Faust stood on the shoulders of Marlowe and Lessing, and Miltons immortal Paradise Lost found its seed in du Bartas Divine Weekes and Workes, so the question of origins has always been an interesting path for critics and scholars to explore. With few exceptions, five generations of critics have laid much of Burroughs inspiration at the doorsteps of Kipling, Haggard, and Wells. But Mr. Atamian points the arrow directly at two lesser known writers, Paul Du Chaillu and J. W. Buell, as the major sources, both direct and subliminal, of the Burroughs mind-fix. He shows that Buell and Du Chaillu provided essential background reading which Burroughs used systematically for his themes, situations and, significantly, for his nomenclature.

Du Chaillus books on Africa exploration provided the scientific community with virtually all that was known about Great Apes for over a century, until the modern field work of Dian Fossey and her successors. Atamians arguments are backed with solid evidence from the books of these two men, as well as from the writings of the great explorer, Henry M. Stanley, who was at the zenith of his popularity in Burroughs time. Copious citations from the major biographers of Burroughs, notably Irwin Porges and Richard A. Lupoff, are also included.

Even if you have only a nodding acquaintance with the Tarzan books, you may have wondered how the Tarzan theme has grown to mythological proportions in the modern world; why the Disney Studios and other television conglomerates still vie for the rights to film the Tarzan legend. Burroughs once observed that the best we can do is cloak the same old ideas with new and attractive clothing... which echoes Platos statement in his Symposium that creativity and originality is the recombining of old elements into new and different forms. Mr. Atamian has put forth his obverse-reverse principle, showing how Burroughs created artistic verisimilitude by juxtaposing or inserting letters and syllables into his fictional names to make them seem familiar to readers. The examples he cites may surprise many Burroughs fans, for they are well known and immediately recognizable.

The author also touches briefly on the question of racism, urging us not to remove the head instead of the headache in viewing the past by todays standards and finding little of value in it. This is a major contribution to Burroughs scholarship as well as a good read for those who normally shun books on literary criticism. I, for one, am delighted to welcome it to my bookshelf.

George T. McWhorter, Curator
Burroughs Memorial Collection
University of Louisville