अगदी कळायला लागल्या पासून टारझन हे नाव परिचित झाले -सिनेमातून, पुस्तकांतून .. त्यावेळी सुद्धा त्याच्या गोष्टीचे काही पैलू जरा समजायचे नाहीत, प्रश्न पडायचे, उदा: टारझन ची आपल्या आईवडिलांपासून झालेली ताटातूट... पण त्यामुळे काही फरक पडायचा नाही , मी मराठीत टारझन खूप वाचला....
टारझन चा भारतातील सिनेमांवर, भाषेवर सुद्धा प्रभाव होता, उदा सूरज, १९६६ वगैरे सारखे अत्यंत आवडलेले सिनेमे कुठेतरी खोलवर टारझनवरच आधारित होते...
'Tarzan and His Mate', 1947, artist : J. ALLEN ST. JOHN (1872-1957)
With
the publication of Edgar Rice Burroughs' second Tarzan novel 'The
Return of Tarzan', in 1915, J. Allen St. John's legendary association with this
timeless hero set a new standard in heroic fantasy art and inspired all the
Tarzan artists to come, including such noteworthy talents as Hal Foster, Burne
Hogarth, Frank Frazetta, Roy Krenkel, and countless others. The vast majority
of collectors consider St. John's rendition of the Lord of the Jungle to be
definitive.
This is how The Return of Tarzan begins:
"The Affair on the Liner
“Magnifique!” ejaculated the Countess de Coude, beneath her breath.
“Eh?” questioned the count, turning toward his young wife. “What is it that is magnificent?” and the count bent his eyes in various directions in quest of the object of her admiration.
“Oh, nothing at all, my dear,” replied the countess, a slight flush momentarily coloring her already pink cheek. “I was but recalling with admiration those stupendous skyscrapers, as they call them, of New York,” and the fair countess settled herself more comfortably in her steamer chair, and resumed the magazine which “nothing at all” had caused her to let fall upon her lap.
Her husband again buried himself in his book, but not without a mild wonderment that three days out from New York his countess should suddenly have realized an admiration for the very buildings she had but recently characterized as horrid.
Presently the count put down his book. “It is very tiresome, Olga,” he said. “I think that I shall hunt up some others who may be equally bored, and see if we cannot find enough for a game of cards.”
“You are not very gallant, my husband,” replied the young woman, smiling, “but as I am equally bored I can forgive you. Go and play at your tiresome old cards, then, if you will.”
When he had gone she let her eyes wander slyly to the figure of a tall young man stretched lazily in a chair not far distant.
“MAGNIFIQUE!” she breathed once more.
The Countess Olga de Coude was twenty. Her husband forty. She was a very faithful and loyal wife, but as she had had nothing whatever to do with the selection of a husband, it is not at all unlikely that she was not wildly and passionately in love with the one that fate and her titled Russian father had selected for her. However, simply because she was surprised into a tiny exclamation of approval at sight of a splendid young stranger it must not be inferred therefrom that her thoughts were in any way disloyal to her spouse. She merely admired, as she might have admired a particularly fine specimen of any species. Furthermore, the young man was unquestionably good to look at.
As her furtive glance rested upon his profile he rose to leave the deck. The Countess de Coude beckoned to a passing steward. “Who is that gentleman?” she asked.
“He is booked, madam, as Monsieur Tarzan, of Africa,” replied the steward.
“Rather a large estate,” thought the girl, but now her interest was still further aroused..."
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