Test Bank Medical-Surgical Nursing, Clinical Reasoning in Patient Care, 6th LeMone – Burke

Test Bank Medical-Surgical Nursing, Clinical Reasoning in Patient

Care, 6th LeMone – Burke – Bauldoff – Gubrud
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LeMone/Burke/Bauldoff/Gubrud, Medical-Surgical Nursing 6th Edition Test Bank

Chapter 1

Question 1
Type: MCSA

The nurse is instructing a patient on the role of diet, exercise, and medication to control type 2 diabetes mellitus.
Which core competency for healthcare professionals is the nurse implementing?

1. Quality improvement

2. Evidence-based practice

3. Patient-centered care

4. Teamwork and collaboration

Correct Answer: 3

Rationale 1: Identifying safety hazards and measuring quality is an example of the core competency quality
improvement.

Rationale 2: Using best research when providing patient care is an example of the core competency evidence-
based practice.

Rationale 3: The nurse instructing the patient is an example of the competency patient-centered care.

Rationale 4: The core competency teamwork and collaboration involves collaboration between disciplines to
provide continuous and reliable care.

Global Rationale: In 2003, the National Academy of Sciences proposed a set of five core competencies that all
healthcare professionals should possess to meet the needs of the 21st century. The nurse instructing the patient is
an example of the competency patient-centered care. Identifying safety hazards and measuring quality are
examples of the core competency quality improvement. Using best research when providing patient care is an
LeMone/Burke/Bauldoff/Gubrud, Medical-Surgical Nursing 6th Edition Test Bank
Copyright 2015 by Pearson Education, Inc.

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example of the core competency evidence-based practice. Collaboration between disciplines to provide
continuous and reliable care is an example of the core competency teamwork and collaboration.

Cognitive Level: Applying

Client Need: Safe and Effective Care Environment
Client Need Sub: Management of Care
QSEN Competencies: I.A.1. Integrate understanding of multiple dimensions of patient centered care
AACN Essential Competencies: IX.7. Provide appropriate patient teaching that reflects developmental stage,
age, culture, spirituality, patient preferences, and health literacy considerations to foster patient engagement in
their care
NLN Competencies: Relationship Centered Care: Learn cooperatively, facilitate the learning of others
Nursing/Integrated Concepts: Nursing Process: Implementation
Learning Outcome: 1. Describe the core competencies for healthcare professionals: patient-centered care,
interprofessional teams, evidence-based practice, quality improvement, safety, and health information technology.
MNL Learning Outcome: 10.5.4. Utilize the nursing process in care of client.
Page Number: 4

Question 2
Type: MCSA

The nurse is planning to utilize the core competency use informatics when providing patient care. Which action
should the nurse perform when using this core competency?

1. Change the sharps container in a patient’s room.

2. Document the effectiveness of pain medication for a patient.

3. Discuss the effectiveness of bedside physical therapy with the therapist.

4. Search through a database of articles to find current research on wound care.

Correct Answer: 4

Rationale 1: Changing the sharps container is an example of quality improvement.

Rationale 2: Documenting the effectiveness of pain medication for a patient is an example of patient-centered
care.

Rationale 3: Discussing the effectiveness of bedside physical therapy with the therapist is an example of
teamwork and collaboration.

Rationale 4: Searching through a database of articles to find current research on wound care is an example of use
informatics.

Global Rationale: Examples of the nurse using the core competency use informatics include the use of
technology to communicate, manage knowledge, reduce errors, and support decision making. The activity of
searching through a database of articles to find current research on wound care is an example of use informatics.

LeMone/Burke/Bauldoff/Gubrud, Medical-Surgical Nursing 6th Edition Test Bank

Copyright 2015 by Pearson Education, Inc.
Changing the sharps container in a patient’s room is an example of quality improvement. Documenting the
effectiveness of pain medication for a patient is an example of patient-centered care. Discussing the effectiveness
of bedside physical therapy with the therapist is an example of teamwork and collaboration.

Cognitive Level: Applying

Client Need: Safe and Effective Care Environment
Client Need Sub: Management of Care
QSEN Competencies: VI.B.2. Apply technology and information management tools to support safe processes of
care
AACN Essentials Competencies: IV.1. Demonstrate skills in using patient care technologies, information
systems, and communication devices that support safe nursing practice
NLN Competencies: Knowledge and Science: Electronic databases; literature retrieval; evaluating data for
validity and reliability; evidence and best practices for nursing
Nursing/Integrated Concepts: Nursing Process: Planning
Learning Outcome: 1. Describe the core competencies for healthcare professionals: patient-centered care,
interprofessional teams, evidence-based practice, quality improvement, safety, and health information
technology.
MNL Learning Outcome: 4.3.3. Examine the treatments used for pressure ulcers.
Page Number: 4

Question 3
Type: MCMA

The nurse plans to implement evidence-based practice when providing patient care. Which activities should the
nurse perform?

Standard Text: Select all that apply.

1. Participate in education and research activities when possible.

2. Integrate research findings with clinical care to maximize patient outcomes.

3. Serve on the committee to create critical pathways for patient care.

4. Reinforce hand hygiene techniques with unlicensed assistive personnel.

5. Contact Environmental Services to report a malfunctioning infusion pump.

Correct Answer: 1, 2

Rationale 1: Participating in education and research activities when possible is an example of implementing
evidence-based practice in the provision of patient care.

Rationale 2: Integrating research findings with clinical care to maximize patient outcomes is an example of
implementing evidence-based practice in the provision of patient care.

LeMone/Burke/Bauldoff/Gubrud, Medical-Surgical Nursing 6th Edition Test Bank

Copyright 2015 by Pearson Education, Inc.
 Another random document
un-related content on Scribd:
 AF O C .
Oh! a fine old chant is “God Save the Queen,”
With “Britannia Rules the Waves,”
I like a red cabbage from Turnham Green,
And Britons are—always slaves.
We are miserable, in this happy land,
Impossible things must be done;
For a mouldy crust, and water for thirst,
A Briton about doth run.
Oh, chanting where gay life is seen,
A fine old chant is “God Save the Queen.”
Chanting where gay life is seen,
A fine old chant is—“God Save the Queen.”
A. W. H .
——:o:——
“I G .”
On the ocean, oh, my darling,
When it rocks us to and fro,
Don’t you think ’twere better, darling,
We should both go down below?
When the waves are tossing gently,
’Tis a sudden unknown woe
Prompts me once again to ask you,
Would you like to go below?

In the gloaming, oh, my darling,

Cling not tenderly to me,
For I oft with shortened warning
Rush to view the deep blue sea;
And I feel all choked with something
Longing, struggling to be free;
It were best to leave me thus, dear,
Best for you, and best for me.

——:o:——
 T L U .
(By Sir Wilfrid Lawson.)
Ten Liberal Unionists, kicking up a shine,
One went to Burnley, and then there were but nine.

Nine little Unionists, weeping o’er his fate,

Another went to Ilkeston, and then there were eight.

Eight little Unionists, trusting still in Heaven,

Fought a fight in Cornwall, and then there were seven.

Seven little Unionists, still up to tricks,

Had a fling at Spalding, and then there were six.

Six little Unionists, fresh and all alive,

Sent a man to Coventry, and then there were five.

Five little Unionists, valiant as before,

Tried their luck at Glasgow, and then there were four.

Four little Unionists, bumptious as could be,

Had a shot at Northwich, and then there were three.

Three little Unionists, looking rather blue,

Thomas Russell left them, and then there were two.

Two little Unionists, feeling rather done,

Joe cut a summersault, and then there was one.

One little Hartington, sitting all alone,

He joined the Tories, and then there were none.
Pall Mall Gazette. 1887.

——:o:——
T L D .
Standing one day at his organ,
 The grinder seemed quite at ease,
With his monkey idly chasing
The far too-industrious fleas.
I know not what he was playing
(For I was composing then),
But I heard someone curse that organ,
And I murmured a great “Amen!”

That discord, it filled the silence

With a sound as of tom-cats lorn;
It racked my brain like a nightmare,
It was worse than an oil-cloth torn.
It was like inharmonious yelling;
It made all the street-dogs whine,
It seems that the soul of that organ
Had spitefully gone for mine.

So I made for that organ-grinder,

And swore that I’d break each limb;
And his monkey his fleas ceased chasing,
When he saw I meant chasing him.
It may be in some other quarter
He’s playing that air—and then,
If someone is smashing his organ,
I fervently say, “Amen!”
Judy. May 26, 1886.
 Y B E .
Ye Bicyclists of England
Who stride your wheels with ease,
How little do you think upon
What Mr. Sturmey[83] sees.
The Wheelman’s standard rises high
With every year that goes,
Wheels sweep, fast and cheap,
Whereof Sturmey’s trumpet blows—
Our cycles range more swift and strong,
And Sturmey’s trumpet blows—
* * * * *
The “meteor” wheels of England
Shall yet terrific turn;
’Tis true that France gave us a start—
Now she has much to learn.
To you, our brave wheel-warriors,
Our song and glass shall flow;
To the fame of your name
Mr. Sturmey’s trumpets blow—
Cycles or Cyclists, ours are best,
So why should we not blow?
Punch. October 1, 1887
——:o:——
T S B .[84]
Should you ask me whence these Indians?
Whence these cowboys, whence these riders,
Whence these Red Shirts and these shootists,
With their tomahawks and war-paint,
With their mustangs and buck jumpers,
With their lassoes, with their rifles,
With the savour of the prairies,
With a smack of Reid and Cooper,
And of melodrama on them?
 I should answer—I should tell you
Buffalo, the great Bill, found them,
Brought them from their camps and wigwams,
From their lodges on the prairies
In the great Show land of Barnum,
In the clime of Minnie Palmer;
Brought them here to Earl’s Court, Brompton,
Where the Lohndahner, the Cochneh,
Will throughout the Lohndahn season
Flock in troops to gaze and wonder
At their prowess with the bronchoes,
At their dextrous use of lasso,
At their deadly skill with rifle;
Wonder how the deuce they do it,
Wonder what the men are made of,
How on earth they learned such dodges.
If still further you should ask me
What’s the use of all these cowboys?
What’s the good of these wild Red men?
What’s to us this coach of Deadwood,
Or this railroad, the Switchback?
I should answer your conundrums
In the straitest tips as follow:
In the wilds of Kensingtonia,
In the land of Exhibitions,
Where the Fisheries, the Health’ries,
The Invent’ries, the Colindries
Drew their thousands, drew the masses,
Drew the town for four past seasons,
Something new to-day is wanted,
Something to revive the glories
Of those sights and shows now played out;
Something fresh must be provided,
So the Lohndahner, the Cochneh,
The Prohvinshial, the Yohkehl
Still may find congenial pastime,
Still may revel through the summer
 Nights, and puff the penny Piquewique;
Feast his eyes with coloured lanterns,
And his inner man with “cocktails,”
Soothe his soul with “corpse revivers,”
Steep himself in “maiden’s blushes,”
List the strains of martial music,
Mash the merry maids of Bertram.
Hence these Yank’ries, these Cowboyries,
Hence these Westeries, these Wigwamries,
With the customs of the prairies,
With their buffaloes and mustangs,
With their skilful shooting maidens,
With the squaws and their papooses,
With the plundered coach of Deadwood,
And the toboggin and Switchback,
And the drinks of Yankee Doodle.
Judy. June 1, 1887.
——:o:——
 W. S. GILBERT’S SONGS.
AC ’ C .
[A burglar, who was recently arrested, was proved to have a yacht of his
own, on which he went sailing when not on burgling bent. Doubtless, in the
fulness of time, the noble army of cracksmen will thus carol in a Gilbertian
strain.]
A —Policemen’s Chorus (“Pirates of Penzance.”)
When the window “prising” burglar’s not a-burgling—not a-burgling,
He doesn’t rush to some mere rural spot,
And listen to the rivulet a-gurgling—’let a-gurgling,
But skims along the ocean in his yacht.
When his “lay” has been of “Ooftish” most productive—most
productive,
And he finds the land is getting rather “hot,”
Then he tries a pastime soothing and instructive—and instructive,
For he bounds across the billows in his yacht.
When no “swag” is for the present to be got—to be got,
He loves to go and navigate his yacht—’gate his yacht.

When the cracksman rests awhile from his employment—his

employment,
With his “jemmy” and his skeletonian key,
Then he feels as how he ought to seek enjoyment—seek enjoyment,
By inhaling of the breezes of the sea.
When officious “slops” and “’tecs” would dare pursue him—dare
pursue him,
And his whereabouts they’re likely for to “spot,”
Then in search of recreation you may view him—yes, you’ll view him,
Large as life enjoying otium in his yacht.
For a-lurking on the land is “Tommy-Rot”—“Tommy Rot,”
 So off he goes a-sailin’ in his yacht—in his yacht.
Fun. June 1, 1887.
 I R D ’ M !
Trevelyan.
My eyes were fully open to my awful situation—
So I went at once to Gladstone, and I made him an oration.
I explained to him that I once more was in my proper senses,
And was willing to back up Home Rule and take the consequences;
That I did not want to perish by desertion of my party,
To descend into oblivion like Goschen had, and Harty.
He accepted my apologies with pleasure that did flatter,
As he said I’d been mistaken, and it really didn’t matter!

Cham.—And it really didn’t matter!

That it really didn’t matter, matter, matter, matter, matter!
Chamberlain.
If I were not so deeply pledged to mingle with the Tories,
I should like once more to join in my former leader’s glories;
For I’m very much afraid that I have got into a mire,
And lowered my position, sirs, instead of rising higher;
My brain is getting weaker, I was once considered clever,
I have voted for Coercion that’s to linger on for ever;
To act like this I must have been as mad as any hatter,
But as I can’t retrace my steps, it really doesn’t matter!

Trev.—It really doesn’t matter!

It really doesn’t matter, matter, matter, matter, matter!
Pall Mall Gazette. August 15, 1887.
 T M A G .
A practical, plain young girl;
Not afraid-of-the-rain young girl;
A poetical posy,
A ruddy and rosy,
A helper-of-self young girl.

At home-in-her-place young girl;

A never-will-lace young girl;
A toiler serene,
A life pure and clean.
A princess-of-peace young girl.

A wear-her-own-hair young girl;

A free-from-a-stare young girl;
Improves every hour,
No sickly sunflower,
A wealth-of-rare-sense young girl;

Plenty-room-in-her-shoes young girl;

No indulger-in-blues young girl;
Not a bang on her brow,
To fraud not a bow,
She’s a just-what-she-seems young girl.

Not a reader-of-trash young girl;

Not a cheap-jewelled-flash young girl;
Not a sipper of rum
Nor a chewer of gum,
A marvel-of-sense young girl.

An early-retiring young girl;

An active, aspiring young girl;
A morning ariser,
A dandy-despiser,
A progressive, American girl.
A lover-of-prose young girl;
Not a turn-up-your-nose young girl;
Not given to splutter,
Nor “utterly utter.”
But a-matter-of-fact young girl.

A rightly-ambitious young girl;

Red-lips-most-delicious young girl;
A sparkling clear eye
That says “I will try,”
A sure-to-succeed young girl.

An honestly-courting young girl;

A never-seen-flirting young girl;
A quiet and pure,
A modest, demure,
A fit-for-a-wife young girl.

A sought-everywhere young girl;

A future-most-fair young girl;
An ever-discreet
We too seldom meet
This queen-among-queens young girl.
A .

A somewhat similar American parody will be found on page 128.

 T H S ’ S .
“It is announced this morning that ‘the Home Secretary will address a
meeting of his constituents in the Birmingham Town Hall on Monday next.
On Tuesday he will open the new premises of the Aston Conservative Club,
and on Wednesday attend ward meetings in the division he represents.’ The
following song has, we understand, been expressly written for the
Minister’s use on this occasion.”
Henceforth all the crimes that I find in the Times,
I vow I’ll investigate daily;
For ignorance crass, like I showed to Miss Cass,
Makes life go by not at all gaily;
No kudos receiving for Lipski’s reprieving,
The Salvation Army disgraces,
The child-mother sentence, my tardy repentance,
And numerous similar cases.
To have me in the Cabinet’s awfully nice,
But I fear I shall cost them a terrible price!

The new special pleaders, the writers of leaders,

Come down on my faults like a hammer,
To teach me the beauty of doing my duty,
Yet I falter, and struggle, and stammer.
Oh, Balfour and Goschen! you have not a notion,
What a terrible life I am leading;
For my faults blazoned get in the Pall Mall Gazette,
While they mock at my manners and breeding.
To give me a place was exceedingly nice,
But I fear I shall cost you a terrible price.

Each day when I rise, lo, another surprise

I feel will o’erwhelm me with wonder;
If I walk through the street, I am certain to meet
With placards denouncing some blunder;
The position I’ve got is uncomfort’bly hot,
For the public is getting so touchy,
 Next time there’s a race for the prize of a place
I shall try to jump into the Duchy;
For to be in the Cabinet’s awfully nice,
But the honour is rather too much for the price.
Pall Mall Gazette. September 13, 1887.
 CUMBERLAND, KING!
The Mélange, published in Liverpool in 1834. contained a number of
songs of “High Tory and No Popery” sentiments, such as “Up, Protestants,
Up!” in which the Pope and the Devil were ranged side by side, and a
parody entitled “Rouse, Britons! Arouse.” Also the following verses to the
tune of “God Save the King.”
Thy choicest curse in store,
On George be pleased to pour,
The traitor King!
He has abused the laws,
Slighted the Brunswick cause,
Then hail with loud applause,
Cumberland, King!
Oh, may the Duke of Wel-
Lington and Peel to Hell
Go hand in hand;
While Clarence and his crew,
Popish O’Connell too,
Homage are forced to do
To Cumberland!
This was evidently written before the death of George IV. in 1830; he
was succeeded by William, the Clarence alluded to in the song. King
William was suspected of having Liberal leanings, and an Orange plot
existed to displace him and put his brother Ernest, Duke of Cumberland, on
the throne, thus entirely excluding the Princess Victoria from the
succession. This plot was exposed by Joseph Hume; but it never had any
chance of success, for the Duke of Cumberland, profligate, brutal, and
overbearing, was thoroughly hated by the English people. On the death of
William IV. Cumberland became King of Hanover, and this country was
finally relieved of his presence, and his plots. In the time of the Georges the
following additional verse was sometimes sung:—
God save great George our King,
 Long live our noble King,
God save the King.
Send us roast beef a store,
If it’s gone send us more,
And the key of the cellar door,
That we may drink.

“D S , by James Wilson, A.D. (i.e., Ancient Druid), of

Lodge 91. Adapted to popular and well-known tunes.” George Elliott,
Blackfriars Road. London, 1839.—This pamphlet of 48 pages contains a
number of songs in praise of the Ancient Order of Druids, to be sung to
once popular airs, the majority of which are now quite forgotten. They are
not actual Parodies.
“C L R , and other Poems” by Ebenezer Elliott, London. B.
Steill, 1844, contained parodies of “Robin Adair,” “Scots wha hae,” “Rule
Britannia,” &c., all relating to the scarcity of food, and the protective duties.
“S P , and other Poems,” original and selected, by C. H.
Timperley. London. Fisher, Son and Co. 1845.—This amusing work
contains a number of songs adapted to popular airs; they are very technical
in their language, and only those already quoted can be styled Parodies.
“M ,” by Cuthbert Bede, B.A., published in 1855 by James
Blackwood, London, contained a number of imitations of the popular songs
of the day. Most of them related to incidents in the Crimean War.
Professor Browne, of Fenchurch Street, London, hair-dresser and wig
maker, has for more than twenty-five years issued small almanacs to his
customers. These have contained a number of curious parodies relating to
the Professor’s business, and praising his skill and enterprise. In some cases
the humour of these productions was very quaint and grotesque.
Numerous short parodies of popular songs are to be found in the
theatrical burlesques and extravaganzas produced during the last fifty years.
As a rule they consist of a few couplets only, and possess no interest apart
from their context. Hundreds of these ephemeral jeux d’esprit have been
produced, and the following are the names of the most prolific authors of
dramatic burlesques:—Vincent Amcotts; Captain Arbuthnot; William and
R. B. Brough; Leicester Buckingham; F. C. Burnand; H. J. Byron; Gilbert
A. A’Beckett; C. Dance; Maurice G. Dowling; W. S. Gilbert; H. Such
Granville; A. Halliday; W. H. Oxberry; J. R. Planché; R. Reece; William
Rogers; Francis Talfourd, and Charles Selby.
A more detailed account of dramatic burlesques will be given in a future
volume.
Amongst collections of songs written for societies, such as the
Freemasons, Druids, Anglers, Cricket and Football Clubs, Conservative,
Liberal, and Radical Associations, many are to be found written to the airs
of popular songs. As a rule these are not parodies.
There are numerous advertisement parodies of songs, some of
considerable merit; the best of these have been quoted.
Some purely unintentional travesties of songs are really the most
laughable and amusing, as, for instance, the absurd translations given in the
English libretti of the Italian operas. Those who can appreciate comic songs
should certainly also read Messrs. Augner’s edition of Schubert’s songs
with English and German words. The song “Alinde” commences thus in the
English version: “The sun sinks down into the meer, forth hast she not
ridden?” This is intended to be a translation of “Die Sonne sinkt in’s tiefe
meer, da wollte sie nicht kommen.” What is a meer? In several other cases
the German word meer (sea) is translated meer. As a second example take
“The Fisher.” “The water rushed, the water swelled, A fisher there
bestow’d, With lazy angle, felt the hush, His heart with coolness load!”
How could any man with his wits about him write such arrant nonsense? It
certainly seems like an attempt to translate literally, but in the “Nachtstück”
(night piece) an unpardonable deviation is made from the original. “Luna
mit gewölken kämpft” we are told means “Luna camped upon the clouds!”
Last, but not least, in that exquisite little song “Der Tod und das Mädchen,”
which is unpoetically called “Death and the Girl,” the German runs thus:
“Vor über ach vor über, geh wilder knochenmann.” Surely the translator
struck the summit of absurdity in rendering it, “Pass onward, pass onward,
wild man with skinless bone!” It is not a matter for surprise that we seldom
hear any of Schubert’s works, except perhaps “Ave Maria,” in an English
drawing-room, when the translations offered are hardly fit for nigger
minstrels. There is much room for improvement in the poetry of our modern
popular sentimental songs, whether intended for the stage, or the concert
room. Yet ridiculous as these often are, they do not approach the nonsense,
called translations from Italian, French, or German songs, where the effort
required to render the sense in a metre suitable to the melody seems too
much for any ordinary translator to cope with.
 MORE ABOUT LORD TENNYSON’S JUBILEE ODE.
Several parodies of this Ode were given in Part 43 (June) but since then
some others have appeared.
The universal opinion that Tennyson’s poem was a failure, and
altogether unworthy of his reputation has been expressed in several ways,
one London evening paper printed a couple of the Laureate’s verses “as
they ought to be” thus:—
“You then loyally, all of you, deck your houses, illuminate all your
towns for a festival, and in each let a multitude loyal, each, to the heart of it
one full voice of allegiance, hail the great Ceremonial of this year of her
Jubilee.”
“You, the Patriot Architect, shape a stately memorial, make it regally
gorgeous, some Imperial Institute, rich in symbol, in ornament, which may
speak to the centuries, all the centuries after us, of this year of her Jubilee.”
Instead of being poetry of transcendent merit, it seems to be a poor
imitation of the language of Scripture. Others declare it to be an imitation of
the style of W W , and the Ode has even been compared to a
badly-written catalogue! One satirist went so far as to plead in the
Laureate’s latest style:—
You, the Patriot poet,
Shape a statelier poem;
Leave out “regally gorgeous,”
Cut the Imperial Institute,
Or we, weary, uncomforted,
And we needy unbanqueted,
Seeing how maimed are your verses,
Joy not this year of the Jubilee.
 “T B ’ ”J O .
I.
Fifty times my poor nose you have broken,
Fifty times my gore you have spilled,
Since I stood with you in corded ring.
II.
He was trained by an ancient bruiser,
Learned in art of self-defence,
Slugger champion of England,
Owner of a silver belt,
Never worn by a worthier,
Now with murderous auguries
Comes at last to spoil my beauty,
In this blooming year of Jubilee.
III.
Nothing of the common, of the magsman,
Nothing of the vulgar or vainglorious,
All is cruel, slogging, hard and manly.
IV.
You hit me savagely—yes, you did!
Brought my claret as you struck
My eyes and nose and cheeks,
And from each let quarts pour
Red and gory down my battered chest.
One full blow aimed at proboscis
Hurled me clean to mother earth
In this the year of Jubilee.
V.
Stars as large as Spanish onions
Dazzling in my peepers came,
Tingling through me from my conk to hoof.
VI.
You, that wanton in your sparring,
Spare me! Do not now be bountiful.
Take your mawleys from my optics,
Do not knock them both in one,
Keep me safely from hospital,
Let my weary frame be comforted,
Let my aching pegs rejoice,
In this the year of Jubilee.
VII.
Sayers’s blows are all in shadow,
Gray with distance Greenfield’s sloggers,
Even Mace’s left forgotten.
VIII.
You, the champion architect,
Shape memorial of your skill,
Make my nose so grandly gorgeous,
Like some great Imperial Institute,
Rich in colour, and of size
Which seems like growth of centuries;
All the centuries that come after us,
In this the year of Jubilee.
IX.
Fifty times of ever-pounding business!
Fifty times of ever-striking science!
Fifty times of ever-widening gashes!
X.
You, the mighty and the bruiser,
You the slashing lord of blows,
You the bump-manufacturer,
You the hardy-fisted one,
Busiest child of Albion,
You, the thumper, scruncher,
Mug-demolisher, and puncher,
All your blows have hit me hard,