And now I must resume my narrative for that melancholy business that concludes all human histories. In January of the year 1875, while Fleeming's sky was still unclouded, he was reading Smiles. "I read my engineers' lives steadily," he writes, "but find biographies depressing. I suspect one reason to be that misfortunes and trials can be graphically described, but happiness and the causes of happiness either cannot be or are not. A grand new branch of literature opens to my view: a drama in which people begin in a poor way and end, after getting gradually happier, in an ecstasy of enjoyment. The common novel is not the thing at all. It gives struggle followed by relief. I want each act to close on a new and triumphant happiness, which has been steadily growing all the while. This is the real antithesis of tragedy, where things get blacker and blacker and end in hopeless woe. Smiles has not grasped my grand idea, and only shows a bitter struggle followed by a little respite before death. Some feeble critic might say my new idea was not true to nature. I'm sick of this old-fashioned notion of art. Hold a mirror up, indeed! Let's paint a picture of how things ought to be, and hold that up to nature, and perhaps the poor old woman may repent and mend her ways." The "grand idea" might be possible in art; not even the ingenuity of nature could so round in the actual life of any man. And yet it might almost seem to fancy that she had read the letter and taken the hint; for to Fleeming the cruelties of fate were strangely blended with tenderness, and when death came, it came harshly to others, to him not unkindly.