Download Basic Geriatric Nursing 5th Edition Wold Test Bank all chapters

Basic Geriatric Nursing 5th Edition
Wold Test Bank

Go to download the full and correct content document:
https://testbankfan.com/product/basic-geriatric-nursing-5th-edition-wold-test-bank/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
Basic Geriatric Nursing 6th Edition Williams Test Bank
https://testbankfan.com/product/basic-geriatric-nursing-6th-
edition-williams-test-bank/
Basic Chemistry 5th Edition Timberlake Test Bank
https://testbankfan.com/product/basic-chemistry-5th-edition-
timberlake-test-bank/
Basic Nursing Concepts Skills And Reasoning 1st Edition

Treas Test Bank
https://testbankfan.com/product/basic-nursing-concepts-skills-
and-reasoning-1st-edition-treas-test-bank/
Basic Business Statistics 5th Edition Mark Test Bank
https://testbankfan.com/product/basic-business-statistics-5th-
edition-mark-test-bank/
Basic Concepts of Psychiatric Mental Health Nursing 8th
Edition Shives Test Bank
https://testbankfan.com/product/basic-concepts-of-psychiatric-
mental-health-nursing-8th-edition-shives-test-bank/
Basic College Mathematics 5th Edition Martin Gay Test

Bank
https://testbankfan.com/product/basic-college-mathematics-5th-
edition-martin-gay-test-bank/
Gerontologic Nursing 5th Edition Meiner Test Bank
https://testbankfan.com/product/gerontologic-nursing-5th-edition-
meiner-test-bank/
Davis Advantage Basic Nursing Thinking Doing and Caring

2nd Edition Treas Test Bank
https://testbankfan.com/product/davis-advantage-basic-nursing-
thinking-doing-and-caring-2nd-edition-treas-test-bank/
Basic College Mathematics through Applications 5th

Edition Akst Test Bank
https://testbankfan.com/product/basic-college-mathematics-
through-applications-5th-edition-akst-test-bank/
Wold: Basic Geriatric Nursing, 5th Edition
Chapter 08: Health Assessment of Older Adults
Test Bank
MULTIPLE CHOICE
1. The nurse clarifies that the difference between a health screening and health
assessment is that a health screening:
a. identifies persons with unmet health needs who may need a referral.
b. assesses local health needs for the Public Health Department.
c. collects data that will be used for research.
d. provides appropriate treatment for identified health needs.
ANS: A
Screenings are to identify unmet health needs and to refer identified persons to an
appropriate resource for assessment and treatment.
DIF: Cognitive Level: Comprehension REF: 151 OBJ: 1
TOP: Screening vs. Assessment KEY: Nursing Process Step: Implementation
MSC: NCLEX: Health Promotion and Maintenance: Prevention and Early Detection of
Disease
2. The nurse charts that the “Patient stated abdominal pain is still at a level of 8 on a
scale of 1 to 10 and that he is still nauseated. Patient complains of feeling cold and
has an oral temperature of 97.8°.” The objective information recorded is the:
a. pain measurement.
b. presence of nausea.
c. sense of cold.
d. oral temperature.
ANS: D
The objective concrete measurement of the temperature is the only objective data in the
nurse’s record.
DIF: Cognitive Level: Application REF: 151 OBJ: 2
TOP: Objective Data KEY: Nursing Process Step: Assessment
Disease
3. The nurse reminds the 55-year-old woman that the American Cancer Society (ACS)
recommendation for persons older than 50 years is to have an annual:
a. fecal occult blood test.
b. sigmoidoscopy.
c. Pap smear.
d. pelvic examination.
Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

Test Bank 8-2
ANS: A
The ACS recommends an annual fecal occult blood test for persons older than 50.
Sigmoidoscopy is recommended every 3 to 5 years. Pap smears and pelvic examinations
are recommended every 2 to 3 years.
DIF: Cognitive Level: Comprehension REF: 152, Table 8-1
OBJ: 3 TOP: American Cancer Society Recommendations
KEY: Nursing Process Step: Implementation
Disease
4. The nurse is aware that the most common health threat for the older adult, regardless
of ethnicity, is:
a. hypertension.
b. cancer.
c. diabetes.
d. glaucoma.
ANS: C
Diabetes is the most common health threat for the older adult, regardless of ethnicity.
TOP: Diabetes KEY: Nursing Process Step: Assessment
Disease
5. The statement that would put the older woman most at ease during the lengthy health
interview would be:
a. “This interview will take about an hour.”
b. “Please have a seat over there across from the desk.”
c. “There are 75 questions we need to get answered in the next hour.”
d. “The bathroom is behind that green door. We’ll be taking a break in about 30
minutes.”
ANS: D
The “permission” to go to the bathroom and knowledge of its location will set the patient
at ease. It is helpful to provide information about the probable time limits of the
interview.
TOP: Physical Setting for Health Interview
MSC: NCLEX: Psychosocial Integrity: Psychosocial Adaptation
6. To establish rapport, the nurse should initiate the health interview by saying:
a. “Hello, Mrs. Smith. My name is Alice. We’ll start with a few questions before the
physical exam.”
b. “Welcome, Sara. I’m Alice. Let’s get down to some questions about your health.”
c. “I’m Alice Jones. I’m here to do an interview about your health.”

Test Bank 8-3
d. “Hey, Mrs. Smith! Are you ready for some questions about your health?”
ANS: A
Addressing the patient formally and identifying yourself, as well as informing the patient
of the expectation of the interview, is an appropriate approach to the older adult.
TOP: Establishing Rapport KEY: Nursing Process Step: Implementation
7. The 94-year-old woman has come to the health assessment interview with her 70-
year-old daughter, who answers all the interview questions for her mother. The
nurse’s best approach to this situation would be to:
a. say, “I’m speaking to your mother. Please let her answer for herself.”
b. continue to interact with the daughter to facilitate completion of the interview.
c. look directly at the patient and say, “Mrs. Smith, now I’d like to hear from you
about your health.”
d. document that all answers to the interview came from a third party.
ANS: C
Directly addressing the older adult cues the patient and family member that the responses
are expected from the patient.
DIF: Cognitive Level: Analysis REF: 153 OBJ: 4
Disease
8. The most effective method of building rapport is to open the health interview with:
a. focusing on the problems that the patient sees as important.
b. explaining the importance of health maintenance.
c. informing the patient of the number of questions that will be asked.
d. reassuring the patient that the interview is private.
ANS: A
Focusing on the patient’s concerns gives the patient the perception that the nurse is
concerned about him or her as a person.
9. When interviewing a 90-year-old Chinese woman who is accompanied by her

daughter, the interviewer should:
a. use direct, short questions.
b. address all the questions to the daughter.
c. use pictures of body systems rather than anatomical terms.
d. use social conversation and indirect questions.

Test Bank 8-4
ANS: D
Persons with an Asian background consider direct questions inappropriate and they are
more comfortable with indirect questioning in a social context. Rather than saying, “How
many bowel movements do you have a day?” it would be better to ask, “How would you
describe your digestion?”
DIF: Cognitive Level: Analysis REF: 153, Cultural Considerations
OBJ: 4 TOP: Cultural Considerations
10. The nurse appropriately uses a variety of communication techniques during the
health interview, which include:
a. using medical terminology.
b. keeping questions simple.
c. helping patients by finishing their sentences.
d. allowing patients to ramble as they respond.
ANS: B
Keeping questions simple and asking the question in a clear voice help patients process
answers. Finishing their sentences and allowing extensive rambling are not helpful for
useful interviewing.
DIF: Cognitive Level: Application REF: 153-154 OBJ: 4
TOP: Structuring the Interview KEY: Nursing Process Step: Implementation
Disease
11. An 85-year-old man accompanied by his son is unable to recall the medications that
he is presently taking. The nurse should:
a. ask the question again.
b. rephrase the question.
c. ask the son for the information.
d. leave that part of the health history blank.
ANS: C
When patients are unsure of answers, it is best to move on and ask the family for
objective information.
TOP: Health History KEY: Nursing Process Step: Implementation
Disease
12. Because the nurse is aware that the 86-year-old woman has age-related loss of
subcutaneous fat and a lowered metabolism rate, the nurse will take special
precautions to:
a. weigh the patient carefully without clothing.
b. prevent the patient from becoming chilled during the examination.

Test Bank 8-5
c. give fluids before the examination.

d. elevate the patient’s head while he or she is lying in a supine position.
ANS: B
Because of loss of subcutaneous fat and lower metabolism, the older adult has altered
thermoregulation. Care should be taken to prevent chilling during the physical
examination.
TOP: Prevention of Chilling KEY: Nursing Process Step: Implementation
Disease
13. The nurse performing an assessment of a 90-year-old man suspected of having an

upper respiratory infection would expect to find:
a. temperature elevation over 100° F.
b. elevated white blood count.
c. history of recent periods of confusion.
d. record of increased fluid intake.
ANS: C
The older adult does not exhibit a marked increase in temperature or in the white blood
count as a response to infection. History of confusion and a decrease in appetite and fluid
intake are cardinal signs of infection in the older adult.
DIF: Cognitive Level: Application REF: 155, Table 8-3
OBJ: 5 TOP: Infection Assessment in the Older Adult
KEY: Nursing Process Step: Assessment
MSC: NCLEX: Physiological Integrity: Physiological Adaptation
14. During the health interview, when the older adult offers vague physical
gastrointestinal complaints, complains of inability to fall asleep, has frequent periods
of wakefulness during the night, and has a decrease in appetite, the nurse would be
cued to inquire about:
a. feelings of depression.
b. time of last bowel movement.
c. environmental stimuli that disturb sleep.
d. frequency and size of meals.
ANS: A
Vague physical complaints, sleep disturbances, and changes in appetite and food intake
are signals of possible depression.
DIF: Cognitive Level: Analysis REF: 155, Table 8-3
OBJ: 4 TOP: Symptoms of Depression
Disease

Test Bank 8-6
15. The most effective method to take an older adult’s temperature is to use a(n):
a. electronic thermometer, because it only takes a few seconds to assess temperature.
b. oral thermometer, because the presence of dry mucous membranes gives a more
valid temperature.
c. axillary thermometer, because its position is nearer the heart.
d. rectal thermometer, because it is the best indicator of the body core temperature.
ANS: A
The electronic thermometer is the best device because it is accurate and quick.
TOP: Temperature Assessment KEY: Nursing Process Step: Assessment
Disease
16. The nurse is aware that the difference between the apical pulse and radial pulse is
referred to as the pulse:
a. pressure.
b. deficit.
c. ratio.
d. quality.
ANS: B
The difference between the apical and radial pulse is referred to as the pulse deficit. This
is a pertinent piece of information because it may indicate peripheral circulatory
impairment.
DIF: Cognitive Level: Knowledge REF: 157 OBJ: 8
TOP: Pulse Deficit KEY: Nursing Process Step: Assessment
17. The nurse records the assessment of crackles when the nurse auscultates:
a. high-pitched sounds in the lung bases on inspiration.
b. continuous low-pitched snoring sounds over major bronchi.
c. squeaky musical sounds on expiration.
d. coarse grating sounds on inspiration and expiration.
ANS: A
Crackles are adventitious breath sounds heard on inspiration that sound like cracking
paper. Frequently, these sounds can be cleared by coughing.
DIF: Cognitive Level: Application REF: 160, Box 8-2
OBJ: 7 TOP: Adventitious Breath Sounds
18. The nurse assessing the apical pulse would place the head of the stethoscope at the:
a. third intercostal space at proximal edge of the clavicle.
b. fourth intercostal space at the edge of the sternum.

Test Bank 8-7
c. fifth intercostal space at the middle of the clavicle.

d. sixth intercostal space above the diaphragm.
ANS: C
The correct placement of the stethoscope for the assessment of the apical pulse is at the
fifth intercostal space at the midclavicular line. The pulse should be counted for a full
minute.
TOP: Apical Pulse KEY: Nursing Process Step: Assessment
MSC: NCLEX: Physiological Integrity: Basic Care and Comfort
19. The nurse assessing a patient for orthostatic hypotension has a reading of a seated
blood pressure of 135/86. The blood pressure that would be indicative of orthostatic
hypotension would be a standing blood pressure of:
a. 145/85.
b. 134/76.
c. 130/72.
d. 126/62.
ANS: D
Orthostatic hypotension is suspected when the systolic reading is 20 mm Hg lower than
the sitting blood pressure. Dizziness with a diastolic pressure less than 100 mm Hg
should also be reported.
DIF: Cognitive Level: Analysis REF: 159 OBJ: 7
TOP: Orthostatic Hypotension KEY: Nursing Process Step: Assessment
20. When the nurse using the Mini-Mental State Examination (MMSE) requests the
patient to count by sevens (7, 14, 21, 28), the nurse is attempting to evaluate the
patient’s:
a. orientation.
b. recall.
c. ability to follow complex commands.
d. attention and ability to perform calculations.
ANS: D
Counting by sevens tests a person’s ability for attention and calculation.
DIF: Cognitive Level: Analysis REF: 161, Figure 8-4
OBJ: 1 TOP: Mini-Mental State Examination
21. The nurse explains that the Minimum Data Set (MDS) 3.0 used in extended care
facilities is designed to:
a. identify ethnic populations in long-term care.
b. group residents into specified activity levels.

Test Bank 8-8
c. organize information relative to diagnostic categories.

d. make assessment processes more consistent.
ANS: D
The MDS 3.0 is meant to standardize assessments and make them more reliable. MDS
3.0 is a computerized comprehensive assessment tool that justifies government funding.
TOP: Minimum Data Set 3.0 KEY: Nursing Process Step: Implementation
MULTIPLE RESPONSE
1. The nurse explains that health screening can be conducted by __________. (Select
all that apply.)
a. a health professional
b. telephone interview
c. telecomputer
d. pen and paper surveys
e. lay persons
ANS: A, B, C, D
Lay persons may not do screenings unless they are specially trained. All other modes of
screening are in use today.
TOP: Health Screening Modes KEY: Nursing Process Step: Implementation
Disease
2. The nurse in a long-term care facility is aware that a health assessment will be
__________. (Select all that apply.)
a. the basis for the assignment of nursing diagnoses
b. done only at admission to the facility
c. performed only by a registered nurse
d. a platform for the nursing care plan
e. ongoing for the duration of the stay
ANS: A, D, E
The health assessment is done on admission to the facility and is ongoing during the
duration of the stay. The initial assessment can be done by any licensed professional in
the long-term facility and is the basis for the nursing diagnoses and plan of care.
TOP: Health Assessment KEY: Nursing Process Step: Planning
Disease

Test Bank 8-9
3. The nurse collects objective data by way of __________. (Select all that apply.)
a. observation
b. patient complaints
c. physical examination
d. laboratory findings
e. family input
ANS: A, C, D
Patient complaints and family input are subjective data. Objective data are concrete,
observable signs.
TOP: Objective Data Collection KEY: Nursing Process Step: Assessment
Disease
4. The nurse planning a health interview with an older adult will take into consideration
a. comfort of the physical setting
b. methods to develop trust and rapport
c. timing for minimal distractions
d. the age and ethnicity of the patient
e. income level
ANS: A, B, C, D
Income level is not a primary consideration in the health interview.
TOP: Health Interview KEY: Nursing Process Step: Planning
Disease
5. The nurse taking identifying information will collect data pertinent to __________.
(Select all that apply.)
a. ethnicity
b. previous or current occupation
c. educational background
d. perception of general health
e. completion of advanced directives
ANS: A, B, C, E
The patient’s perception of his or her general health is subjective data in the health
history and is not taken in the identifying data portion of the interview.
DIF: Cognitive Level: Comprehension REF: 154, Box 8-1
OBJ: 4 TOP: Identifying Data
Disease

Test Bank 8-10
6. The nurse uses the five techniques of physical health assessment, which include
a. inspection
b. palpation
c. interview
d. auscultation
e. percussion
ANS: A, B, D, E
Interviewing is not a technique of physical assessment.
TOP: Physical Assessment Techniques KEY: Nursing Process Step: Assessment
Disease
7. When the nurse palpates a very weak pedal pulse in the right foot, the nurse would
anticipate finding other indications of diminished peripheral circulation in the right
foot and leg, such as __________. (Select all that apply.)
a. bruising
b. darkened color
c. cool skin
d. diminished hair on limb
e. capillary refill of 3 seconds
ANS: C, D
A decreased arterial flow will produce a faint or absent pedal pulse, cool pale skin, and
diminished hair on the limb. Bruising and a normal capillary refill time of 3 seconds are
not indicators of impaired peripheral circulation.
TOP: Peripheral Circulation KEY: Nursing Process Step: Assessment
COMPLETION
1. The nurse explains that the tool that allows the evaluation of core function in a
resident in a long-term facility is the __________ __________ __________.
ANS: Minimum Data Set

TOP: Minimum Data Set KEY: Nursing Process Step: Implementation
Disease

Another random document with
no related content on Scribd:
The two set about it.
“Where’s that damn ol’ reprobate?” inquired Billy, truculently,
looking about for Charley.
The patriarch had quietly slipped away.
“You kin drop them hands,” advised the stranger, lowering the
muzzles of his weapons. The leader started to say something.
“You shut up!” said Billy, selecting his own weapons from the
heap.
The stranger suddenly picked up one of the Colt’s single-action
revolvers which lay on the floor, and, holding the trigger back against
the guard, exploded the six charges by hitting the hammer smartly
with the palm of his hand. In the thrusting motion of this discharge he
evidently had design, for the first six wine-glasses on Billy’s bar were
shivered. It was wonderful work, rattling fire, quicker than a self-
cocker even. He selected another weapon. From a pile of tomato-
cans he took one and tossed it into the air. Before it had fallen he
had perforated it twice, and as it rolled along the floor he helped its
progression by four more bullets which left streams of tomato-juice
where they had hit. The room was full of smoke.
The group watched, fascinated.
Then the men against the wall grew rigid. Out of the film of smoke
long, vivid streams of fire flashed toward them, now right, now left,
like the alternating steam of a locomotive’s pistons. SMASH,
SMASH! SMASH, SMASH! hit the bullets with regular thud. With the
twelfth discharge the din ceased. Midway in the space between the
heads of each pair of men against the wall was a round hole. No one
was touched.
A silence fell. The smoke lightened and blew slowly through the
open door. The horses, long since deserted by their guardians in
favor of the excitement within, whinnied. The stranger dropped the
smoking Colts, and quietly reproduced his own short-barrelled arms
from his side-pockets, where he had thrust them. Billy broke the
silence at last.
“That’s shootin’!” he observed, with a sigh.
“Them fifty thousand is outside,” clicked the stranger. “Do you
want them?”
There was no reply.
“I aims to pull out on one of these-yere hosses of yours,” said he.
“Billy he’s all straight. He doesn’t know nothin’ about me.”
He collected the six-shooters from the floor.
“I jest takes these with me for a spell,” he continued. “You’ll find
them, if you look hard enough, along on th’ trail—also yore broncs.”
He backed toward the door.
“I’m layin’ fer th’ man that sticks his head out that door,” he
warned.
“Stranger,” said Black Hank as he neared the door.
The little man paused.
“Might I ask yore name?”
“My name is Alfred,” replied the latter.
Black Hank looked chagrined.
“I’ve hearn tell of you,” he acknowledged.
The stranger’s eye ran over the room, and encountered that of the
girl. He shrank into himself and blushed.
“Good-night,” he said, hastily, and disappeared. A moment later
the beat of hoofs became audible as he led the bunch of horses
away.
For a time there was silence. Then Billy, “By God, Hank, I means
to stand in with you, but you let that kid alone, or I plugs you!”
“Kid, huh!” grunted Hank. “Alfred a kid! I’ve hearn tell of him.”
“What’ve you heard?” inquired the girl.
“He’s th’ plumb best scout on th’ southern trail,” replied Black
Hank.
The year following, Billy Knapp, Alfred, and another man named
Jim Buckley took across to the hills the only wagon-train that dared
set out that summer.
XII
THE NIGHTINGALE AND THE ROSE
By Oscar Wilde
From “Fairy Tales,” copyright, 1913, by G. P. Putnam’s
Sons. By special permission from the publishers.
“She said that she would dance with me if I brought her red
roses,” cried the young Student; “but in all my garden there is no red
rose.”
From her nest in the Holm-oak tree the Nightingale heard him,
and she looked out through the leaves, and wondered.
“No red rose in all my garden!” he cried, and his beautiful eyes
filled with tears. “Ah, on what little things does happiness depend. I
have read all the wise men have written and all the secrets of
philosophy are mine, yet for want of a red rose is my life made
wretched.”
“Here at last is a true lover,” said the Nightingale. “Night after night
have I sung of him, though I knew him not; night after night have I
told his story to the stars, and now I see him. His hair is dark as the
hyacinth-blossom, and his lips as red as the rose of his desire; but
passion has made his face like pale ivory, and sorrow has set her
seal upon his brow.”
“The Prince gives a ball to-morrow night,” murmured the young
Student, “and my love will be of the company. If I bring her a red
rose, I shall hold her in my arms, and she will lean her head upon my
shoulder, and her hand will be clasped in mine. But there is no red
rose in my garden, so I shall sit lonely, and she will pass me by. She
will have no heed of me, and my heart will break.”
“Here indeed is the true lover,” said the Nightingale. “What I sing
of, he suffers; what is joy to me, to him is pain. Surely Love is a
wonderful thing. It is more precious than emeralds, and dearer than
fine opals. Pearls and pomegranates cannot buy it, nor is it set forth
in the market-place. It may not be purchased of the merchants, nor
can it be weighed out in the balance for gold.”
“The musicians will sit in their gallery,” said the young Student,
“and play upon their stringed instruments, and my love will dance to
the sound of the harp and violin. She will dance so lightly that her
feet will not touch the floor, and the courtiers in their gay dresses will
throng round her. But with me she will not dance, for I have no red
rose to give her”; and he flung himself down on the grass, and buried
his face in his hands, and wept.
“Why is he weeping?” asked a little Green Lizard, as he ran past
him with his tail in the air.
“Why, indeed?” said a Butterfly, who was fluttering after a
sunbeam.
“Why, indeed?” whispered a Daisy to his neighbor, in a soft low
voice.
“He is weeping for a red rose,” said the Nightingale.
“For a red rose!” they cried; “how very ridiculous!” and the Lizard,
who was something of a cynic, laughed outright.
But the Nightingale understood the secret of the Student’s sorrow,
and she sat silent in the Oak-tree, and thought about the mystery of
love.
Suddenly she spread her brown wings for flight and soared into
the air. She passed through the grove like a shadow, and like a
shadow she sailed across the garden.
In the center of the grass-plot was standing a beautiful Rose-tree,
and when she saw it she flew over to it, and lit upon a spray.
“Give me a red rose,” she cried, “and I will sing you my sweetest
song.”
But the Tree shook its head.
“My roses are white,” it answered; “as white as the foam of the
sea and whiter than the snow upon the mountain. But go to my
brother who grows round the sun-dial, and perhaps he will give you
what you want.”
So the Nightingale flew over to the Rose-tree that was growing
round the old sun-dial.
song.”
“My roses are yellow,” it answered; “as yellow as the hair of the
mermaiden who sits upon an amber throne, and yellower than the
daffodil that blooms in the meadow before the mower comes with his
scythe. But go to my brother who grows beneath the Student’s
window, and perhaps he will give you what you want.”
So the Nightingale flew over to the Rose-tree that was growing
beneath the Student’s window.
song.”
“My roses are red,” it answered, “as red as the feet of the dove,
and redder than the great fans of coral that wave and wave in the
ocean-cavern. But the winter has chilled my veins, and the frost has
nipped my buds, and the storm has broken my branches, and I shall
have no roses at all this year.”
“One red rose is all I want,” cried the Nightingale, “only one red
rose! Is there no way by which I can get it?”
“There is a way,” answered the Tree; “but it is so terrible that I
dare not tell it to you.”
“Tell it to me,” said the Nightingale; “I am not afraid.”
“If you want a red rose,” said the Tree, “you must build it out of
music by moonlight, and stain it with your own heart’s-blood. You
must sing to me with your breast against a thorn. All night long you
must sing to me, and the thorn must pierce your heart, and your life-
blood must flow into my veins, and become mine.”
“Death is a great price to pay for a red rose,” cried the Nightingale,
“and Life is very dear to all. It is pleasant to sit in the green wood,
and to watch the Sun in his chariot of gold, and the Moon in her
chariot of pearl. Sweet is the scent of the hawthorn, and sweet are
the bluebells that hide in the valley, and the heather that blows on
the hill. Yet Love is better than Life, and what is the heart of a bird
compared to the heart of a man?”
So she spread her brown wings for flight, and soared into the air.
She swept over the garden like a shadow, and like a shadow she
sailed through the grove.
The young Student was still lying on the grass, where she had left
him, and the tears were not yet dry in his beautiful eyes.
“Be happy,” cried the Nightingale, “be happy; you shall have your
red rose. I will build it out of music by moonlight, and stain it with my
own heart’s-blood. All that I ask of you in return is that you will be a
true lover, for Love is wiser than Philosophy, though she is wise, and
mightier than Power, though he is mighty. Flame-colored are his
wings, and colored like flame is his body. His lips are sweet as
honey, and his breath is like frankincense.”
The Student looked up from the grass, and listened, but he could
not understand what the Nightingale was saying to him, for he only
knew the things that are written down in books.
But the Oak-tree understood, and felt sad, for he was very fond of
the little Nightingale, who had built her nest in his branches.
“Sing me one last song,” he whispered; “I shall feel very lonely
when you are gone.”
So the Nightingale sang to the Oak-tree, and her voice was like
water bubbling from a silver jar.
When she had finished her song, the Student got up, and pulled a
note-book and a lead-pencil out of his pocket.
“She has form,” he said to himself, as he walked away through the
grove—“that cannot be denied to her; but has she got feeling? I am
afraid not. In fact, she is like most artists; she is all style, without any
sincerity. She would not sacrifice herself for others. She thinks
merely of music, and everybody knows that the arts are selfish. Still,
it must be admitted that she has some beautiful notes in her voice.
What a pity it is that they do not mean anything, or do any practical
good.” And he went into his room, and lay down on his little pallet-
bed, and began to think of his love; and, after a time, he fell asleep.
And when the Moon shone in the heavens the Nightingale flew to
the Rose-tree, and set her breast against the thorn. All night long
she sang with her breast against the thorn, and the cold crystal
Moon leaned down and listened. All night long she sang, and the
thorn went deeper and deeper into her breast, and her life blood
ebbed away from her.
She sang first of the birth of love in the heart of a boy and girl. And
on the topmost spray of the Rose-tree there blossomed a marvellous
rose, petal following petal, as song followed song. Pale was it, at
first, as the mist that hangs over the river—pale as the feet of the
morning, and silver as the wings of the dawn. As the shadow of a
rose in a mirror of silver, as the shadow of a rose in a water-pool, so
was the rose that blossomed on the topmost spray of the Tree.
But the Tree cried to the Nightingale to press closer against the
thorn. “Press closer, little Nightingale,” cried the Tree, “or the Day will
come before the rose is finished.”
So the Nightingale pressed closer against the thorn, and louder
and louder grew her song, for she sang of the birth of passion in the
soul of a man and a maid.
And a delicate flush of pink came into the leaves of the rose, like
the flush in the face of the bridegroom when he kisses the lips of the
bride. But the thorn had not yet reached her heart, so the rose’s
heart remained white, for only a Nightingale’s heart-blood can
crimson the heart of a rose.
And the Tree cried to the Nightingale to press closer against the
thorn. “Press closer, little Nightingale,” cried the Tree, “or the Day will
come before the rose is finished.”
So the Nightingale pressed closer against the thorn, and the thorn
touched her heart, and a fierce pang of pain shot through her. Bitter,
bitter was the pain, and wilder and wilder grew her song, for she
sang of the Love that is perfected by Death, of the Love that dies not
in the tomb.
And the marvellous rose became crimson, like the rose of the
eastern sky. Crimson was the girdle of petals, and crimson as a ruby
was the heart.
But the Nightingale’s voice grew fainter, and her little wings began
to beat, and a film came over her eyes. Fainter and fainter grew her
song, and she felt something choking her in her throat.
Then she gave one last burst of music. The white Moon heard it,
and she forgot the dawn, and lingered on in the sky. The red rose
heard it, and it trembled all over with ecstasy, and opened its petals
to the cold morning air. Echo bore it to her purple cavern in the hills,
and woke the sleeping shepherds from their dreams. It floated
through the reeds of the river, and they carried its message to the
sea.
“Look, look!” cried the Tree, “the rose is finished now”; but the
Nightingale made no answer, for she was lying dead in the long
grass, with the thorn in her heart.
And at noon the Student opened his window and looked out.
“Why, what a wonderful piece of luck!” he cried; “here is a red
rose! I have never seen any rose like it in all my life. It is so beautiful
that I am sure that it has a long Latin name”; and he leaned down
and plucked it.
Then he put on his hat, and ran up to the Professor’s house with
the rose in his hand.
The daughter of the Professor was sitting in the doorway winding
blue silk on a reel, and her little dog was lying at her feet.
“You said that you would dance with me if I brought you a red
rose,” cried the Student. “Here is the reddest rose in all the world.
You will wear it to-night next your heart, and as we dance together it
will tell you how I love you.”
But the girl frowned.
“I am afraid it will not go with my dress,” she answered; “and
besides, the Chamberlain’s nephew sent me some real jewels, and
everybody knows that jewels cost far more than flowers.”
“Well, upon my word, you are very ungrateful,” said the Student
angrily; and he threw the rose into the street, where it fell into the
gutter, and a cartwheel went over it
“Ungrateful!” said the girl. “I tell you what, you are very rude; and
after all, who are you? Only a Student. Why, I don’t believe you have
even got silver buckles to your shoes as the Chamberlain’s nephew
has”; and she got up from her chair and went into the house.
“What a silly thing Love is,” said the Student as he walked away.
“It is not half as useful as Logic, for it does not prove anything, and it
is always telling one of things that are not going to happen, and
making one believe things that are not true. In fact, it is quite
unpractical, and, as in this age to be practical is everything, I shall go
back to Philosophy and study Metaphysics.”
So he returned to his room and pulled out a great dusty book, and
began to read.
[Transcriber’s Note: The cover image was created by the transcriber

and is in the public domain.]
*** END OF THE PROJECT GUTENBERG EBOOK OFF DUTY: A
DOZEN YARNS FOR SOLDIERS AND SAILORS ***
Updated editions will replace the previous one—the old editions

will be renamed.
Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright
in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without
paying copyright royalties. Special rules, set forth in the General
Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.
START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the

free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.
Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree to
abide by all the terms of this agreement, you must cease using
and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only

be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright
law in the United States and you are located in the United
States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project
Gutenberg are removed. Of course, we hope that you will
support the Project Gutenberg™ mission of promoting free
access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this
agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms
of this agreement by keeping this work in the same format with
its attached full Project Gutenberg™ License when you share it
without charge with others.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project

Gutenberg:
1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed,
viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United

States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it
away or re-use it under the terms of the Project Gutenberg
License included with this eBook or online at
www.gutenberg.org. If you are not located in the United
States, you will have to check the laws of the country where
you are located before using this eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is

derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to
anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the
phrase “Project Gutenberg” associated with or appearing on the
work, you must comply either with the requirements of
paragraphs 1.E.1 through 1.E.7 or obtain permission for the use
of the work and the Project Gutenberg™ trademark as set forth
in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is

posted with the permission of the copyright holder, your use and
distribution must comply with both paragraphs 1.E.1 through
1.E.7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg™
License for all works posted with the permission of the copyright
holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files
containing a part of this work or any other work associated with
Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute
this electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the
Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if
you provide access to or distribute copies of a Project
Gutenberg™ work in a format other than “Plain Vanilla ASCII” or
other format used in the official version posted on the official
Project Gutenberg™ website (www.gutenberg.org), you must, at
no additional cost, fee or expense to the user, provide a copy, a
means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original “Plain Vanilla ASCII” or other
form. Any alternate format must include the full Project
Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™
works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or

providing access to or distributing Project Gutenberg™
electronic works provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”
• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project

Gutenberg™ electronic work or group of works on different
terms than are set forth in this agreement, you must obtain
permission in writing from the Project Gutenberg Literary
Archive Foundation, the manager of the Project Gutenberg™
trademark. Contact the Foundation as set forth in Section 3
below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on,
transcribe and proofread works not protected by U.S. copyright
law in creating the Project Gutenberg™ collection. Despite
these efforts, Project Gutenberg™ electronic works, and the
medium on which they may be stored, may contain “Defects,”
such as, but not limited to, incomplete, inaccurate or corrupt
data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other
medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES -

Except for the “Right of Replacement or Refund” described in
paragraph 1.F.3, the Project Gutenberg Literary Archive
Foundation, the owner of the Project Gutenberg™ trademark,
and any other party distributing a Project Gutenberg™ electronic
work under this agreement, disclaim all liability to you for
damages, costs and expenses, including legal fees. YOU
AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE,
STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER
THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR
ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF
THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If

you discover a defect in this electronic work within 90 days of
receiving it, you can receive a refund of the money (if any) you
paid for it by sending a written explanation to the person you
received the work from. If you received the work on a physical
medium, you must return the medium with your written
explanation. The person or entity that provided you with the
defective work may elect to provide a replacement copy in lieu
of a refund. If you received the work electronically, the person or
entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund
in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set

forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS
OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR
ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this
agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the applicable
state law. The invalidity or unenforceability of any provision of
this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the

Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and
distribution of Project Gutenberg™ electronic works, harmless
from all liability, costs and expenses, including legal fees, that
arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project
Gutenberg™ work, (b) alteration, modification, or additions or
deletions to any Project Gutenberg™ work, and (c) any Defect
you cause.
Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of hundreds of
volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project Gutenberg™
collection will remain freely available for generations to come. In
2001, the Project Gutenberg Literary Archive Foundation was
created to provide a secure and permanent future for Project
Gutenberg™ and future generations. To learn more about the
Project Gutenberg Literary Archive Foundation and how your
efforts and donations can help, see Sections 3 and 4 and the
Foundation information page at www.gutenberg.org.
Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-
profit 501(c)(3) educational corporation organized under the
laws of the state of Mississippi and granted tax exempt status by
the Internal Revenue Service. The Foundation’s EIN or federal
tax identification number is 64-6221541. Contributions to the
Project Gutenberg Literary Archive Foundation are tax
deductible to the full extent permitted by U.S. federal laws and
your state’s laws.
The Foundation’s business office is located at 809 North 1500

West, Salt Lake City, UT 84116, (801) 596-1887. Email contact
links and up to date contact information can be found at the
Foundation’s website and official page at
www.gutenberg.org/contact
Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission
of increasing the number of public domain and licensed works
that can be freely distributed in machine-readable form
accessible by the widest array of equipment including outdated
equipment. Many small donations ($1 to $5,000) are particularly
important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws

regulating charities and charitable donations in all 50 states of
the United States. Compliance requirements are not uniform
and it takes a considerable effort, much paperwork and many
fees to meet and keep up with these requirements. We do not
solicit donations in locations where we have not received written
confirmation of compliance. To SEND DONATIONS or
determine the status of compliance for any particular state visit
www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states

where we have not met the solicitation requirements, we know
of no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot

make any statements concerning tax treatment of donations
received from outside the United States. U.S. laws alone swamp
our small staff.
Please check the Project Gutenberg web pages for current

donation methods and addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations. To donate, please visit:
www.gutenberg.org/donate.
Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could
be freely shared with anyone. For forty years, he produced and

Download Basic Geriatric Nursing 5th Edition Wold Test Bank all chapters

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Download Basic Geriatric Nursing 5th Edition Wold Test Bank all chapters

Uploaded by

Copyright:

Available Formats

Basic Geriatric Nursing 5th Edition

Wold Test Bank

Basic Geriatric Nursing 6th Edition Williams Test Bank

Basic Chemistry 5th Edition Timberlake Test Bank

Basic Nursing Concepts Skills And Reasoning 1st Edition

Basic Business Statistics 5th Edition Mark Test Bank

Basic College Mathematics 5th Edition Martin Gay Test

Gerontologic Nursing 5th Edition Meiner Test Bank

Davis Advantage Basic Nursing Thinking Doing and Caring

Basic College Mathematics through Applications 5th

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

9. When interviewing a 90-year-old Chinese woman who is accompanied by her

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

c. give fluids before the examination.

13. The nurse performing an assessment of a 90-year-old man suspected of having an

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

c. fifth intercostal space at the middle of the clavicle.

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

c. organize information relative to diagnostic categories.

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

ANS: Minimum Data Set

Copyright © 2012 by Mosby, Inc., an affiliate of Elsevier Inc.

[Transcriber’s Note: The cover image was created by the transcriber

Updated editions will replace the previous one—the old editions

Creating the works from print editions not protected by U.S.

START: FULL LICENSE

To protect the Project Gutenberg™ mission of promoting the

Section 1. General Terms of Use and

1.B. “Project Gutenberg” is a registered trademark. It may only

1.E. Unless you have removed all references to Project

1.E.1. The following sentence, with active links to, or other

This eBook is for the use of anyone anywhere in the United

1.E.2. If an individual Project Gutenberg™ electronic work is

1.E.3. If an individual Project Gutenberg™ electronic work is

1.E.4. Do not unlink or detach or remove the full Project

1.E.7. Do not charge a fee for access to, viewing, displaying,

1.E.8. You may charge a reasonable fee for copies of or

• You provide a full refund of any money paid by a user who

• You provide, in accordance with paragraph 1.F.3, a full refund of

1.E.9. If you wish to charge a fee or distribute a Project

1.F.1. Project Gutenberg volunteers and employees expend

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES -

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If

1.F.4. Except for the limited right of replacement or refund set

1.F.5. Some states do not allow disclaimers of certain implied

1.F.6. INDEMNITY - You agree to indemnify and hold the

Section 2. Information about the Mission of

Volunteers and financial support to provide volunteers with the

Section 3. Information about the Project

The Foundation’s business office is located at 809 North 1500

Section 4. Information about Donations to

The Foundation is committed to complying with the laws

While we cannot and do not solicit contributions from states

International donations are gratefully accepted, but we cannot

Please check the Project Gutenberg web pages for current

Section 5. General Information About Project

You might also like