QUES: I am very hungry. I look for my mother. When is dinner? I ask. Dinner is at six, my mother says. What can we eat? I ask. We can pick food from our garden, she says. I help her pick corn, beans, and peas. The corn is yellow and white. The beans are small and brown. The peas are green and round. I put the beans in a basket. I put the peas in a bowl. Mother brings the corn. We go inside. I have dirty hands. I wash my hands with soap and water. The water is warm. My hands are now clean. Mother lets me stir the beans. I fill a pot with water. Mother puts the corn into the pot. She puts the pot on the stove. The water boils. Mary is my sister. Mary puts four plates on the table. Each plate is blue. We each eat two pieces of meat. I eat more corn than Mary. Mary eats more beans than our mother. What did you learn today? Mary asks. I can spell ten new words, I say. Mary can only spell two words.
Do you have any questions?
MY QUESTION: Why do I wash my hands?

QUES: In actual practice, however, we act too often as if we only cared for economic values. If we are to live up to our educational profession, we must look our aim in the face and honestly practise what we believe. 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. 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_. He finds himself in what is to him a new and complex world of people and things; actual experience is the foundation for a complete living, and the stronger the foundation the better the result of later building. _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_.
Do you have any questions?
MY QUESTION: How can a teacher discover the best way to give a strong foundation for complete living?

QUES: Do not look for the Danteum in the Eternal City. In true Dantean form, politics stood in the way of its construction in 1938. Ironically this literature-inspired building can itself most easily be found in book form. Reading this book I remembered Goethe's quote about frozen music. Did Terragni try to freeze Dante's medieval miracle of song? Certainly a cold-poem seems artistically repulsive. Unflattering comparisons to the lake of Cocytus spring to mind too. While I cannot read Italian, I can read some German. After locating the original quotation I discovered that 'frozen' is a problematic (though common) translation of Goethe's original 'erstarrte.' The verb 'erstarren' more properly means 'to solidify' or 'to stiffen.' This suggests a chemical reaction in which the art does not necessarily chill in the transformation. Nor can simple thawing yield the original work. Like a chemical reaction it requires an artistic catalyst, a muse. Indeed the Danteum is not a physical translation of the Poem. Terragni thought it inappropriate to translate the Comedy literally into a non-literary work. The Danteum would not be a stage set, rather Terragni generated his design from the Comedy's structure, not its finishes.
Do you have any questions?
MY QUESTION: What did Teragni translate the Comedy into?

QUES: Howland talked but little on their way back to camp. The scene that he had just witnessed affected him strangely; it stirred once more within him all of his old ambition, all of his old enthusiasm, and yet neither found voice in words. He was glad when the dinner was over at Thorne's, and with the going of the mail sledge and the senior engineer there came over him a still deeper sense of joy. Now _he_ was in charge, it was _his_ road from that hour on. He crushed MacDonald's hand in a grip that meant more than words when they parted. In his own cabin he threw off his coat and hat, lighted his pipe, and tried to realize just what this all meant for him. He was in charge--in charge of the greatest railroad building job on earth--_he_, Jack Howland, who less than twenty years ago was a barefooted, half-starved urchin peddling papers in the streets where he was now famous! And now what was this black thing that had come up to threaten his chances just as he had about won his great fight? He clenched his hands as he thought again of what had already happened--the cowardly attempt on his life, the warnings, and his blood boiled to fever heat. That night--after he had seen Meleese--he would know what to do. But he would not be driven away, as Gregson and Thorne had been driven. He was determined on that.
Do you have any questions?
MY QUESTION:
Whose feelings of ambition were stirred by the previous scene? Give first and last name.