By Zane Grey
Many of the fish stuck are sharks (great white, tiger, even a couple of carpet!) yet you can't cross mammoth online game fishing in Australia and never anticipate to be teased by means of marlins.
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Additional resources for An American Angler in Australia
This is the place to thank a famous foreign writer,* who has kindly given some attention to the author of this book. May I show my esteem and gratitude by pointing out an error he seems to have made? ’ There wasn’t any need to study that profession of faith so solemnly. The author never has deviated from it, and never will. It can be reconciled readily enough with ‘the ugly ought to be imitated, the grotesque ought to be a component of art’. The two statements aren’t contradictory. The distinction between beauty and ugliness in art doesn’t correspond exactly to that in nature.
All these creations have an inherently vigorous, profound character from which the ancient world apparently tended to ﬂinch. The Greek Eumenides are decidedly less horrible, and therefore decidedly less real, than the witches of Macbeth. Pluto* isn’t the devil. In my view, a most original book could be written about the use of the grotesque in art. Such a book could show what powerful eﬀects modern artists have drawn from that fruitful type, which is still attacked by conservative critics today.
Callot’s orgies, Salvator Rosa’s Temptation with its extraordinary devil, his Battle with all its ghastly ﬁgures of death and carnage, Bonifacio’s Triboulet, Murillo’s ﬂeabitten beggar, and the carvings in which Benvenuto Cellini makes fun of such hideous ﬁgures in arabesques and acanthuses, are ugly things from the standpoint of nature, beautiful things from that of art; while nothing is ‘uglier’ than all the Greek and Roman proﬁles, the patchwork ideal beauty emitted by the second-rate school of David* with its ﬂuﬀy purplish colouring.