It is certainly true, and I have had many evidences of it, that Sir Edwin Arnold has been and still is a political writer, a power to be counted with in British affairs. To him, perhaps, as political writer and Asiatic scholar and poet, is far more due the beginnings of present British Imperialism as a political condition than to either Chamberlain, as statesman, or Kipling, as singer of the “Greater Englanders.” The leading articles of the _Telegraph_ have been a unique feature of that powerful journal, as much for the wide knowledge shown of imperial affairs as for the peculiarly rich and refulgent literary merit they display. English editorials, though keen and incisive in logic, are usually colorless as to rhetoric and illustration. Arnold’s leaders have been and continue the reverse of that. His literary work and industry have also been as marked and extensive. His writings make a rich library, which covers much of Asiatic life. There are ten volumes dealing with Sanscrit, Hindoo, and Persian subjects. His output has not only been splendid, but great in quantity, and one wonders how, with his unremitting daily labors on the _Telegraph_ for the last forty years, he has been able to accomplish so much of permanent form and value. The poet-editor, like all notable workers I have known, has orderly habits and hours. His editorial room at the _Telegraph_ office, Fleet Street, London, was a modest one, furnished in light oak and with walls of a soft gray tint. Sir Edwin has kept but few books there, because he needed them little for reference, his wonderful memory having always placed dates and facts at command. Arnold has a contempt for fussiness and keeps the newspaper man’s faculty of being able to prepare copy under any circumstances. He was always at work during the period of my personal knowledge. When on his Japanese “vacation” he told me that he had “written some sixty-two columns in letters to the _Telegraph_, composed an epic poem longer than ‘The Light of Asia,’ and furnished articles besides for _Scribner’s Magazine_ that made a volume, learned to speak colloquial Japanese, and to write the Kata Kara character.” He added, “I was not so very idle, you will see, Major.” “The Light of the World” went to press without his reading the last proofs, and the correctness of copy this shows is characteristic of all his work. His editorial “leaders” went to the printer’s hand as he dropped his pen or ceased dictation.