Eva faced a hectic morning（面对忙乱的早晨）/feɪst ə ˈhɛktɪk ˈmɔrnɪŋ/ in Easter（复活节）/ˈistər/ Hall. The museum would showcase（陈列橱）/'ʃәukeis/ an exquisite（精致的、细腻的）/'ekskwizit/ ivory（象牙、乳白色）/'aivәri/ relic（遗物、遗迹）/'relik/ beside porcelain（瓷器、瓷）/'pɒ:slin/, pottery（陶器、陶器厂）/'pɒtәri/, embroidery（刺绣品、粉饰）/im'brɒidәri/, and a turtle-shaped（语境补充词）/turtle-shaped/ handicraft（手工艺、手艺）/'hændikræft/. Its conspicuous（显著的、显眼的）/kәn'spikjuәs/ label called the object a medieval（中古的、中世纪的）/.medi'i:vl/ tribute（贡物、礼物）/'tribju:t/ to a foreign monarchy（君主政体、君主国）/'mɒnәki/. That account had won acclaim（赢得赞誉）/wən əˈkleɪm/ for its aesthetic（美学的、审美的）/i:s'θetik/ style, yet an older catalogue（编入目录）/'kætәlɒg/ used the spelling esthetic（感觉的）/es'θetik/ and named the indigenous（原产的、本土的）/in'didʒinәs/ River Tribe（宗族、部落）/traib/ as maker.

Mr. Ayo（语境补充词）/eɪoʊ/ arrived with a bouquet（花束）/bu'kei/ and a community chronicle（社区编年史）/kəmˈjunɪti ˈkrɑnɪkəl/. It described how an aristocrat（贵族）/'æristәkræt/'s missionary（传教士、负有任务者）/'miʃәnәri/ had removed the relic after soldiers tried to assassinate（暗杀、行刺）/ә'sæsineit/ a local patron（赞助人、顾客）/'peitrәn/. Folklore（民俗学、民间风俗）/'fәuklɒ:/ said clergy（牧师、僧侣）/'klә:dʒi/ hid（语境补充词）/hɪd/ it first in a chapel（小教堂、礼拜式）/'tʃæpәl/ near a cathedral（大教堂）/kә'θi:drәl/. The community did not mock（嘲笑、戏弄）/mɒk/ every doctrine（教条、学说）/'dɒktrin/: Buddhism（佛教）/ˈbudɪzəm/, a local gospel（福音、信仰）/'gɒspәl/, and seasonal（季节的、依照季节的）/'si:znәl/ ritual（仪式、典礼）/'ritʃuәl/ had long coexisted. But the colonial（殖民的、殖民地的）/kә'lәunjәl/ label made their legacy（遗产、遗赠物）/'legәsi/ look like a cult（膜拜、礼拜式）/kʌlt/. “Your elegant label cannot avail（效用、利益）/ә'veil/ us if it continues to erase the tribe.” “I want to avert further harm（避免进一步伤害）/əˈvərt ˈfərðər hɑrm/, but the ownership record has gaps.”

Dr（语境补充词）/ˈdɑktər/. Kim（语境补充词）/kɪm/ examined the rim（边、轮缘）/rim/ and found a mark matching local pottery. In retrospect（回想起来）/ɪn ˈrɛtrəˌspɛkt/, the grim（冷酷的、坚强的）/grim/ acquisition note was more revealing than the display text. It praised conquest（战胜、征服）/'kɒŋkwest/, treated heroin（海洛因、吗啡）/'herәuin/ use among soldiers as a minor delicacy（细软、精致）/'delikәsi/ of scandal, and ignored the violence that enveloped（包封、遮盖）/in'velәp/ the collection. Such language could erode trust（侵蚀信任）/ˈiroʊd trəst/ even when individual facts were accurate. “The evidence can bolster a correction（支持更正）/ˈboʊlstər ə kərˈɛkʃən/, though it cannot yet settle legal ownership.” “Then commemorate（纪念）/kә'memәreit/ the makers（制造者、上帝）/'meikә/ now and state that return talks continue.”

Eva resisted a quick public-relations（语境补充词）/public-relations/ crunch（咬碎、咬碎声）/krʌntʃ/. She compared an autobiography（自传）/.ɒ:tәubai'ɒgrәfi/, an epic（史诗的、叙事诗的）/'epik/ poem, and patron records from the Renaissance（复活、复兴）/ri'neisәns/. One source claimed the relic made a guard quiver（震动、颤抖）/'kwivә/; another said an elder had to stoop（佝偻、屈从）/stu:p/ to place it in a shrine（圣地、神龛）/ʃrain/. The stories were not equally verifiable（可核实的、可证实的）/'verifaiәbl/, but together they explained why the old name caused pain. “We will distinguish proven history from living memory（区分已证历史与生活记忆）/dɪˈstɪŋgwɪʃ ˈpruvən ˈhɪstəri frəm ˈlɪvɪŋ ˈmɛməri/ on the new label.” “That wording respects evidence without freezing culture in the past.”

The museum would showcase the relic in Easter Hall. The label cannot avail us if it erases the tribe. The evidence can bolster a correction though ownership remains disputed. We will distinguish proven history from living memory clearly. Eva invited Ayo to record an oral history. The revised label named the River makers, disclosed the disputed transfer（有争议的转移）/dɪˈspjutɪd ˈtrænsfər/, and linked visitors to the return request. It neither romanticized（有浪漫思想、以浪漫方式行事）/rәu'mæntisaiz/ the community nor repeated the colonial boast. The change did not resolve every claim, but it transformed a landmark（陆标、划时代的事）/'lændmɑ:k/ display from silent possession into accountable conversation（可问责的对话）/əˈkaʊntəbəl ˌkɑnvərˈseɪʃən/. Visitors could now appreciate beauty while asking whose labor（语境补充词）/ˈleɪbər/, belief, and loss had made the museum possible.