Eva asked Ken to analyze（分析、细察）/'ænәlaiz/ an old museum label beside a crown（王冠、王权）/kraun/ and silver tray（托盘、公文盘）/trei/. It called the crown an imperial（特等品）/im'piәriәl/ masterpiece（杰作、名著）/'mɑ:stәpi:s/ that had remained intact（尚未被人碰过的、原封不动的）/in'tækt/ since a lost empire（帝国、帝权）/'empaiә/. It also described its owner as an angel（天使、守护神）/'eindʒәl/ whom every ethnic（人种的、种族的）/'eθnik/ group chose to worship（崇拜、礼拜）/'wә:ʃip/. Yet no record could bind that fable to fact（把寓言与事实关联起来）/baɪnd ðət ˈfeɪbəl tɪ fækt/. The label mixed legend（传说、传奇文学）/'ledʒәnd/, fairy（仙女、精灵）/'fєәri/ tale, and history, and a new exhibit（显示、显现）/ig'zibit/ would soon open. “We cannot await（等候）/ә'weit/ a complaint（诉苦、抱怨）/kәm'pleint/. This claim may hinder（后面的）/'hindә/ trust, so the program（语境补充词）/ˈproʊˌgræm/ needs a clear revision（校订、修正）/ri'viʒәn/.”

“Do not negate（否定、否认）/ni'geit/ our oral heritage（口述文化遗产）/ˈɔrəl ˈhɛrɪtɪʤ/ simply（语境补充词）/ˈsɪmpli/ because it is not in an imperial book.” Mr. Ali（语境补充词）/ˈɑli/ spoke in a local dialect（方言、同源语）/'daiәlekt/ and then translated a proverb（谚语、格言）/'prɒvә:b/ from his kin（亲戚、同族）/kin/. His ancestors had to migrate（移动、移往）/'maigreit/ during the colony（殖民地、移民队）/'kɒlәni/ period; others had to immigrate（使移居入境）/'imigreit/ after war. Their dialog（对话）/'daiәlɒg/ preserved memories of a lord（领主；主）/lɔrd/, a priest（祭司、牧师）/pri:st/, and a healer called a saint（圣人；圣徒）/seɪnt/. Eva did not show contempt（轻视、轻蔑）/kәn'tempt/, but said researchers（语境补充词）/ˈrisərʧərz/ could contend（奋斗、斗争）/kәn'tend/ that memory and proof must be named differently（作不同标注）/neɪmd ˈdɪfərˈɛntli/.

“Could we present two stories side by side（并排地）/saɪd baɪ saɪd/ and explain what supports each one?” The idea was an ace（幺点、好手）/eis/ move. Ken proposed a research panel regarding（关于）/ri'gɑ:diŋ/ trade records and an audio station for the community myth（神话、虚构的事）/miθ/. He would likewise（同样地、也）/'laikwaiz/ mention how Confucian（儒家的；儒家学者）/kənfˈjuʃən/ teaching, Marxism（马克思主义）/ˈmɑrksɪzəm/, the Bible（圣经）/'baibl/, and stories of Christ（基督）/kraɪst/ had shaped later interpretations（解释、演出）/in.tә:pri'teiʃәn/. None was an infinite（无穷的、无限的）/'infinit/ answer, and no tradition should be ranked inferior（部下、次品）/in'fiәriә/ by default（在没有特别说明时；默认）/baɪ dɪˈfɔlt/.

They worked through an intensive（加强的、内涵的）/in'tensiv/ afternoon. One source pictured heaven（天堂；天国）/ˈhɛvən/ and hell（地狱、邪恶势力）/hel/ as places; another used the devil（魔鬼）/'devәl/ and evil（邪恶、不幸）/'i:vl/ as moral symbols. A visitor might exclaim（大叫、呼喊）/iks'kleim/ that the crown proved divine（神的、神圣的）/di'vain/ favor, while a pessimist（悲观者、厌世者）/'pesimist/ might see only sin（罪、犯罪）/sin/ and oppression（压抑、沉闷）/ә'preʃәn/. Eva refused to defy（藐视、挑衅）/di'fai/ evidence or oblige（强制、施恩惠于）/ә'blaidʒ/ visitors to accept one belief. She also removed an odor-damaged（语境补充词）/odor-damaged/ paper backing and repaired a loose heel（脚后跟、踵）/hi:l/ on the display figure. “Respect does not require agreement（要求意见一致）/ˌrikˈwaɪər əˈgrimənt/, but it does require us to grin（露齿而笑）/grin/ less and listen more.”

The final label said the crown was genuine, while its link to a particular ruler remained uncertain（仍不确定）/rɪˈmeɪnd ənˈsərtən/. The oral account appeared in a separate panel with its source and date. The crown could be a magnet（磁铁、有吸引力之人）/'mægnit/ for visitors without attracting false claims. This approach did not negate faith or scholarship; it protected both and made the value of respect intangible（难以明了的、无形的）/in'tændʒәbl/ but real. Eva hoped the exhibit would improve public well-being（幸福；身心健康）/ˌwɛlˈbiɪŋ/ by replacing pessimism（悲观、悲观情绪）/'pesimizm/ with careful curiosity（审慎的好奇心）/ˈkɛrfəl ˌkjʊriˈɑsəti/. No single voice won（语境补充词）/wən/, but every reader could see where evidence ended and interpretation（解释、演出）/in.tә:pri'teiʃәn/ began.