You are given a paragraph, with numbered sentences, and a question. Write the numbers of the sentences needed to answer the given question. Separate multiple sentence numbers with a comma (", "). E.g. "1, 2" would be the correct response if Sent 1 and Sent 2 are needed to answer the given question (do not include sentences that contain no information that is necessary to answer the question). Sort the sentence numbers in an increasing order (i.e., '1, 2', instead of '2, 1'). Your answer should not contain anything than the sentence numbers separated by a comma (e.g. '1, 2, 3, 4'). The given question requires more than one sentence to answer. So, your answer must contain at least one comma (", ").

Input: Consider Input: Paragraph- Sent 1: In actual practice, however, we act too often as if we only cared for economic values.
Sent 2: If we are to live up to our educational profession, we must look our aim in the face and honestly practise what we believe.
Sent 3: While training of character and conduct is the accepted aim for education in general, to make this useful and practical each teacher must fix her attention on how this ultimate aim affects her own special part of the whole work.
Sent 4: By watching the free child she will discover how best she can help him: he knows his own business, and when unfettered by advice or command shows plainly that he is chiefly concerned with _gaining experience_.
Sent 5: He finds himself in what is to him a new and complex world of people and things; actual experience is the foundation for complete living, and the stronger the foundation the better the result of later building.
Sent 6: _The first vital principle then is that the teacher of young children must provide life in miniature; that is, she must provide abundant raw material and opportunities for experience_.
Question: How do the aim of education and the actual practice differ?.

Output: 1, 3.

Input: Consider Input: Paragraph- Sent 1: Nathan read the package of words in silence, his only motions the steady progress of his eyes and occasional replacement of pages.
Sent 2: Allan sat nervously across from him in a chair Nathan had probably upholstered himself, a patchwork design of fabric containing easily more stuffing than any other furniture item of the period.
Sent 3: At long last, Nathan reached the end and set down his reading on the table between them.
Sent 4: Allan leaned forward unconsciously.
Sent 5: "It's the best story you've ever written."Sent 6: Allan exhaled and leaned back into the chair, his face relaxing in imitation of his thoughts.
Sent 7: "So," he asked, "you don't think it's a waste of ink and paper, a futile expedition into morbidity or literary debauchery?"Sent 8: "Heavens, no," said Nathan, aghast.
Sent 9: "This is one of the strongest works I've read in ages.
Sent 10: It speaks to the deepest storyteller's instinct within us all, yet is entirely original.
Sent 11: My dear friend, you have done it.
Sent 12: Oh, they may rail against you at first; they may decry you as a heathen or a literary savage; but while those in power say such things, others will read your tales and see their true worth.
Sent 13: Believe me when I say that you will be read a century from now."Sent 14: Allan, though dubious as to that possibility, felt some temptation from the compliment; mainly, it granted him the encouragement he still needed.
Sent 15: Nathan promised to show the story to a printer he knew and Allan left it with him, then walked home under the spreading maples with a smile lingering on his face.
Sent 16: He felt now that perhaps Nathan was right; although the man was somewhat peculiar, he had both an unimpeachable honesty and a certain propensity for insight.
Sent 17: Certainly, it was undeniable that the stories had an originality to them.
Sent 18: His mind's strangest fruit had ripened at last, and he found the taste less bitter than expected.
Sent 19: These thoughts and others like them filled his head as he walked the long road home.
Sent 20: It was evening, and the sky burned orange in the west when he neared home at last.
Question: who worte the story?.

Output: 5, 7, 8, 15.

Input: Consider Input: Paragraph- Sent 1: Mr. Neville ( ( ( Anthony Higgins , a young and arrogant artist and something of a Byronic hero , is contracted to produce a series of 12 landscape drawings of an estate by Mrs. Virginia Herbert for her absent and estranged husband .
Sent 2: Part of the contract is that Mrs. Herbert agrees '' to meet Mr. Neville in private and to comply with his requests concerning his pleasure with me . ''
Sent 3: Several sexual encounters between them follow , each of them acted in such a way as to emphasise reluctance or distress on the part of Mrs Herbert and sexual aggression or insensitivity on the part of Mr Neville .
Sent 4: Meanwhile , whilst living on the estate , Mr. Neville gains quite a reputation with its dwellers , especially with Mrs. Herbert 's son-in-law , Mr. Talmann .
Sent 5: Mrs. Herbert , wearied of meeting Mr. Neville for his pleasure , tries to terminate the contract before all of the drawings are completed and orders Mr. Neville to stop .
Sent 6: But he refuses to void the contract and continues as before .
Sent 7: Then Mrs. Herbert 's married , but as yet childless , daughter , Mrs. Talmann , who has apparently become attracted to Mr. Neville , seems to blackmail him into making a second contract in which he agrees to comply with what is described as her pleasure , rather than his a reversal of the position in regard to her mother .
Sent 8: A number of curious objects appear in Neville 's drawings , which point ultimately to the murder of Mr. Herbert , whose body is discovered in the moat of the house .
Sent 9: Mr. Neville completes his twelve drawings and leaves the house .
Question: Does Mr. Neville know anything about the murder of Mrs. Herbert?.
Output: 8, 9.