The comprehensive and very thorough curriculum of studies now eagerly commenced by Edna, and along which she was gently and skilfully guided by the kind hand of the teacher, furnished the mental aliment for which she hungered, gave constant and judicious exercise to her active intellect, and induced her to visit the quiet parsonage library as assiduously as did Horace, Valgius, and Virgil the gardens on the Esquiline where Maecenas held his literary assize.  Instead of skimming a few text-books that cram the brain with unwieldy scientific technicalities and pompous philosophic terminology, her range of thought and study gradually stretched out into a broader, grander cycle, embracing, as she grew older, the application of those great principles that underlie modern science and crop out in ever-varying phenomena and empirical classifications.  Edna’s tutor seemed impressed with the fallacy of the popular system of acquiring one branch of learning at a time, locking it away as in drawers of rubbish, never to be opened, where it moulders in shapeless confusion till swept out ultimately to make room for more recent scientific invoices.  Thus in lieu of the educational plan of “finishing natural philosophy and chemistry this session, and geology and astronomy next term, and taking up moral science and criticism the year we graduate,” Mr. Hammond allowed his pupil to finish and lay aside none of her studies; but sought to impress upon her the great value of Blackstone’s aphorism:  “For sciences are of a sociable disposition, and flourish best in the neighborhood of each other; nor is there any branch of learning but may be helped and improved by assistance drawn from other arts.”

Finding that her imagination was remarkably fertile, he required her, as she advanced in years, to compose essays, letters, dialogues, and sometimes orations, all of which were not only written and handed in for correction, but he frequently directed her to recite them from memory, and invited her to assist him, while he dissected and criticised either her diction, line of argument, choice of metaphors, or intonation of voice.  In these compositions he encouraged her to seek illustrations from every department of letters, and convert her theme into a focus, upon which to pour all the concentrated light which research could reflect, assuring her that what is often denominated “far-fetchedness,” in metaphors, furnished not only evidence of the laborious industry of the writer, but is an implied compliment to the cultured taste and general knowledge of those for whose entertainment or edification they are employed—­provided always said metaphors and similes really illustrate, elucidate, and adorn the theme discussed—­when properly understood.