Donursing Calculations 9th Edition

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Chapter 10—Oral Dosage of Drugs

PROBLEM

Compute the amount of medication you will give to administer one dose of the following medication
orders. Assume all tablets are scored, when necessary. The problems and drug orders are presented for
practice only, and actual prescribed dosages will vary according to a patient’s age, condition, reaction,
additional medications, and other factors.

1.
Order: furosemide 80 mg p.o. b.i.d.
Supply: Bottle containing 50 tablets of Lasix (furosemide), 80 mg per tablet
Give: __________ tablet(s)

ANS:

PTS: 1 DIF: Comprehension REF: Tablets and Capsules

2.
Order: tamoxifen 0.02 g p.o. b.i.d., morning and evening
Supply: Nolvadex (tamoxifen) 20 mg per tablet
Give: __________ tablet(s)

ANS:
1 g = 1,000 mg

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

3.
Order: Depakene 375 mg p.o. b.i.d.
Supply: Depakene 250 mg/5 mL
Give: __________ mL or __________ teaspoons

ANS:
 PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

4.
Order: Amoxil 0.375 g p.o. q.8h
Supply: 80 mL bottle of reconstituted Amoxil oral suspension, 125 mg/5 mL
Give: __________ mL or __________ tablespoon

ANS:
1,000 mg = 1 g

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

5.
Order: cefalcor 0.3 g p.o. q.8h
Supply: Celcor (cefalcor) reconstituted oral suspension, 375 mg per 5 mL
Give: __________ mL
 ANS:

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

6.
Order: erythromycin ethylsuccinate 800 mg p.o. q.12h
Supply: E.E.S. 400 (erythromycin ethylsuccinate) 400 mg per tablet
Give: __________ tablet(s)

ANS:

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

7.
Order: Augmentin 0.5 g p.o. q.8h
Supply: 75 mL bottle or reconstituted Augmentin, 250 mg/5 mL
Give: __________ mL or __________ teaspoons

ANS:
1 g = 1,000 mg
 PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

8.
Order: Klonopin 500 mcg p.o. t.i.d.
Supply: Bottle of 100 tablets of Klonopin, 0.5 mg per tablet
Give: __________ tablet(s)

ANS:

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

9.
Order: pediatric dose: Biaxin 100 mg p.o. q.12h
Supply: 100 mL of reconstituted Biaxin, 125 mg per 5 mL
Give: __________ mL

ANS:
 PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

10.
Order: Axid 0.15 g p.o. b.i.d.
Supply: Bottle containing 60 capsules of Axid, 150 mg per capsule
Give: __________ capsule(s)

ANS:

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

11.
Order: Prozac 40 mg p.o. b.i.d., morning and noon
Supply: Prozac 20 mg per tablet
Give: __________ tablet(s)

ANS:

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

12.
Order: hydrochlorothiazide 50 mg p.o. b.i.d.
Supply: hydrochlorothiazide 100 mg tablets
Give: __________ tab(s)

ANS:
 PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

13. Decide which supply you would select and enter the number of tablets you would give.
Order: codeine gr p.o. q.4h p.r.n., pain
Supply: 15 mg, 30 mg, and 60 mg tablets
Give: Select __________ mg tablets, and give ___________ tablet(s).

ANS:
.

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

14.
Order: Amoxil suspension 375 mg p.o. q.6h
Supply: Amoxil suspension 250 mg/5mL
Give: __________ mL

ANS:

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

15.
Order: Keflex 0.375 g p.o. b.i.d.
Supply: Reconstituted Keflex oral suspension, 250 mg/5mL
Give: __________ teaspoons

ANS:
 PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

16.
Order: Allopurinol 0.2 g p.o. daily
Supply: Bottle containing 200 tablets Zyloprim (Allopurinol) 100 mg per tablet
Give: __________ tablet(s)

ANS:
1 g = 1,000 mg

X = 200

X = 2 tablets

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

17.
Order: Mycostatin 400,000 units p.o. swish and swallow q.6h t.i.d.
Supply: Bottle containing 473 mL Mycostatin oral suspension, 100,000 units per mL
Give: __________ mL

ANS:
 X = 4 mL

PTS: 1 DIF: Application REF: Oral Liquids

18.
Order: Keflex 0.5 g p.o. b.i.d for 7 days
Supply: Bottle containing Keflex 500 mg per capsule, 14 capsules
Give: __________ capsule(s)

ANS:
1 g = 1,000 mg

X = 500 mg

X = 1 capsule

PTS: 1 DIF: Application REF: Three-Step Approach to Dosage Calculations

19.
Order: Tylenol 325 mg p.o. q.6h p.r.n.for temperature of 101°F or above
Supply: Bottle containing 50 tablets of Tylenol 325 mg per tablet
Give: __________ tablet(s)

ANS:

X = 1 tablet

PTS: 1 DIF: Comprehension REF: Tablets and Capsules

20.
Order: Synthroid 12.5 mcg p.o. daily
Supply: Bottle containing 100 scored tablets of Synthroid, 25 mcg per tablet
Give: __________ tablet(s)

ANS:

X = 0.5 tablet

PTS: 1 DIF: Comprehension REF: Tablets and Comprehension

21.
 Order: Potassium Chloride 30 mEq p.o. b.i.d
Supply: Package containing 15 mL of Potassium Chloride Oral Solution 10%, 20 mEq
per 15 mL.
Give: __________ mL

ANS:

X = 20 mL

PTS: 1 DIF: Application REF: Oral Liquids

22.
Order: Demerol syrup 100 mg p.o. q.6h p.r.n. pain
Label: Demerol syrup 50 mg per 5 mL
Give: __________ mL

ANS:

X = 10 mL

PTS: 1 DIF: Application REF: Oral Liquids

23.
Order: Lasix 80 mg p.o. daily
Supply: Lasix 40 mg tablets
Give: __________ tablet(s)

ANS:

X=2

PTS: 1 DIF: Comprehension REF: Tablets and Capsules

24. Is there enough medication in a 15 mL package of Potassium Chloride Oral Solution 10%, 20 mEq per
15 mL, to fulfill an order of 20 mL? Explain.

ANS:
No, there is not enough medication in one package. The nurse would need to use some medication
from another package too.
PTS: 1 DIF: Application REF: Oral Liquids
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 Apollo

Pan is supposed to have taught music to Apollo, the god of Music

and of the Sun. You have seen statues of him with a lyre in his hands.
As Pan’s pupil he learned to play the syrinx so beautifully that he
won a prize in a contest with Marsyas, a mortal who played the flute
invented (according to the Greek legend), by Pallas Athene. This
goddess was sometimes known as Musica or Musician. When Cupid
saw her play the flute he laughed at her because she made such queer
faces. This angered her, and she flung her flute away. It fell down
from Mt. Olympus to the earth, and Marsyas picked it up and
became such a skilful player that he challenged the god Apollo to a
contest for flute championship of the world! The day came and
Apollo won the prize, but put Marsyas to death for daring to
challenge him—a god. Apollo afterwards was very sorry and broke all
the strings of his lyre and placed it with his flutes in a haunt of
Dionysus (god of Wine), to whom he consecrated these instruments.
These stories are not only a part of the ancient Greek religion but
they have become, on account of their beauty, a rich source of plot
and story for the works of musicians, artists and writers from the
days of antiquity to our own time.
 Orpheus

One of the favorite Greek stories has been that of Orpheus, who
went down to Hades to bring his dead wife whom he adored, back to
earth, and about whom Peri, Gluck, and others wrote operas. He was
son of Apollo and of Calliope, the Muse of Epic Poetry, and became
such a fine performer on all instruments, that he charmed all things
animate and inanimate. He tamed wild birds and beasts, and even
the trees and rocks followed him as he played, the winds and the
waves obeyed him, and he soothed and made the Dragon, who
guarded the Golden Fleece, gentle and harmless.
On the cruise of the Argo in search of the Golden Fleece, Orpheus
not only succeeded in launching the boat when the strength of the
heroes had failed in the task, but when they were passing the islands
of the Sirens, he sang so loudly and so sweetly that the Sirens’ songs
could not be heard and the crew were saved.
 Music in Their Daily Life

When a people have legends about music you may know that they
love it. Such was the case with the Greeks. They did not call their
schools high schools and colleges but Music schools, and everything
that we call learning they included under the name of music. Every
morning the little Greek boy was sent to the Music school where he
was taught the things that were considered necessary for a citizen to
know. Here he learned gymnastics, poetry, and music. At home too,
music was quite as important as in school, and we know that they
had folk songs which had to do with the deeds of ordinary life, such
as farming and winemaking and grape-picking, and the effect and
beauty of the seasons of the year. (See Chap. IX.) They can well be
divided into songs of joy and songs of sorrow, and seem to have
existed even before Homer the Blind Bard. If you ever have tried to
dance or do your daily dozen without music, you will understand at
once how much help music always has been to people as they
worked.
 Harvest Songs

All harvest songs in Greece had the name of Lytiersis. Lytiersis was
the son of King Midas, known as the richest king in the world.
Lytiersis was a king himself but also a mighty reaper, and according
to Countess Martinengo-Cesaresco who has written a book called
Essays in the Study of Folk-Songs it was his “habit to indulge in
trials of strength with his companions and with strangers who were
passing by. He tied the vanquished up in sheaves and beat them. One
day he defied an unknown stranger, who proved too strong for him
and by whom he was slain.” The first harvest song was composed to
console King Midas for the death of his son. We can make a fable
from this story which means that Nature and Man are always
struggling against each other.
The harvest festivals founded in Greece led to others in Brittany,
France, North Germany and England. So does the deed of one race
affect other races.
 The Liturgies

Among the taxes, or five special liturgies, that the Greeks had to
pay, was the obligation for certain rich citizens to supply the Greek
tragedies with the chorus. Every Greek play had its chorus and every
chorus had to have its structures; a choregic monument to celebrate
it; one or more flute players, costumes, crowns, decorations, teachers
for the chorus and everything else to make it succeed. This cost,
which would equal many thousands of dollars, was undertaken as a
duty quite as easily as our men of wealth pay their income taxes. You
can see a greatly enlarged copy of a choregic monument, the Soldiers’
and Sailors’ monument at 89th Street and Riverside Drive, in New
York City, and also one at the Metropolitan Museum.
In old Greece the musicians were also poets. Homer, Hesiod,
Pindar, Æschylus, Sophocles, Sappho, Euripides, Plato, not only
wrote their dramas but knew what music should be played with
them. In fact no play was complete without its chorus and its music
and its flute-player. You have heard of the Greek chorus. Don’t for a
moment think it was like our chorus. It consisted of a group of
masked actors (all actors in those days wore masks), who appeared
between the acts and intoned (chanted) the meaning of the play and
subsequent events. In fact the chorus took the place of a libretto,
—“words and music of the opera,” for it explained to the audience
what it should expect. It spoke and sang some of the most important
lines of the play and danced in appropriate rhythms. So it brought
together word, action and music, and was a remote ancestor of
opera, oratorio and ballet.
 Festivals

Besides the occupational songs and those for the drama festivals,
the Greeks had the great game festivals where in some, not only
competitions in sports took place but also flute playing and singing.
The oldest of these festivals was the Olympic games, first held in 776
B.C. and every four years thereafter. These games played so important
a part in the lives of the Greeks that their calendar was divided into
Olympiads instead of years. While music was evident in the Olympic
games, music and poetry were never among the competitions.
The Pythian games were chiefly musical and poetic contests and
were started in Delphi, 586 B.C., where they were held every nine
years in honor of the Delphian Apollo whose shrine was at Delphi.
The Isthmian and Nemean games were also based on poetic and
musical contests. Warriors, statesmen, philosophers, artists and
writers went to these games and took part in them. Maybe some time
we will realize the power of music as did the Greeks nearly one
thousand years before the birth of Jesus.
 The Greek Scales

While, as we said before, we know very little about the melodies of

the Greeks, we do know something about their scales, upon which
the church music of the Middle Ages was based, as are our own
major and minor scales. In fact the most important contribution
Greece made to our music was the scale. They had a very
complicated system and no one is quite sure how it worked.
We have the two modes or kinds of scales, major and minor, which
we use in different keys, but the Greeks had at least seven different
modes used in many different ways. They used one mode for martial
or military music, another for funeral ceremonies, another for their
temple music, and curiously enough, our own C major scale they
used for their popular music, for drinking songs, and light festivities.
The Greek scales were based on tetrachords, from the Greek words
tetra-four, chord-string that is, a group of four strings. If you play on
the piano B C D E and C D E F and D E F G you will find the three
tetrachords that formed the primary modes of the Greeks:—Dorian,
Phrygian and Lydian.
Perhaps you have heard in Greek architecture of the Doric column
which came from Doria, a province in Greece, and the Ionic column,
from Ionia, and so on. In the same way the scales were named for
sections of the country from which they first came, Dorian mode,
Ionian, Æolian, Phrygian, Lydian, etc.
The Greek tetrachord was formed on the interval of a fourth, for
example from E to A—these were called standing tones, because the
intervals between the two standing tones or permanent tones could
be changed but the first and the fourth always remained the same—
 By putting two tetrachords together all the other Greek scales were
formed. These fell into two classes, and according to Cecil Forsyth in
his History of Music these classes were called the join and the break.
When the second tetrachord began on the fourth tone of the first
tetrachord, Mr. Forsyth calls it the joining method, thus.

When the second tetrachord began on the tone above the fourth
tone of the first tetrachord, he calls it the breaking method, thus:

By using the join and the break with each of the three modes,
Dorian, Phrygian and Lydian, you can see to what a great variety of
scales and names this would lead. The Greeks spoke of their scales
from the top note down, instead of from the lowest note up, as we do.
The first kithara was supposed to have been an instrument of four
strings that could be tuned in any of these different ways, with the
half-step either between the first and second strings, or between the
second and third, or between the third and fourth. Two instruments
tuned differently formed the complete scale, but it did not take long
to add strings to their lyres and kitharas so that they could play an
entire scale on one instrument.
The little Greek boy was taught in school to tune the scale
according to the fourth string of his lyre, which was the home tone or
what we should call tonic. Our tonic falls on the first degree of the
scale, but in the primary modes of the Greeks, the tonic fell on the
fourth degree, and was called the final. When the final was on pitch
all the other strings had to be tuned to it.
These tetrachords are supposed to have been perfected by
Terpander, in the six hundreds before Christ. His melodies were
called nomes and were supposed to have had a fine moral effect on
the Spartan youth in giving him spirit and courage. The Greeks
thought that all music and that every one of their modes had a
special effect on conduct and character.
After the Messenian war, Sparta was in such a state of upheaval
that the Delphian oracle was consulted. The answer was:
“When Terpander’s Cithar shall sound
Contention in Sparta shall cease.”

So the Spartans called upon Terpander to help them, and through

the power of his song all was peace again.
Terpander collected Asiatic, Egyptian, Æolian and Bœotian
melodies all of which are unfortunately lost; he invented a new
notation and enlarged the kithara from four strings to seven. Arion,
Alcæus and the great poetess Sappho were his pupils, and Sappho is
often shown in statues with a six stringed kithara.
Most of these poet singers were called “lyric poets” because they
sang to the accompaniment of the lyre.
 Pythagoras

The Greeks were the first to write down their music, or to make a
musical notation whereby the singers and players knew what tones to
use. Their system was their alphabet with certain alterations. They
had names describing each tone not unlike our use of the word tonic
for the first degree of the scale, and dominant for the fifth and so on.
Of course they did not have the staff and treble and bass clefs as
we have, but they were groping for some way of recording music in
those far away days.
Pythagoras as far back as 584–504 B.C., not only influenced the
music in the classical Greek period (400 B.C.), but down to and
throughout the Middle Ages to the Renaissance (1500s). To this day
music is based on his mathematical discovery. He worked out a
theory of numbers based on the idea that all nature was governed by
the law of numbers and modern scientists have proven that he was
correct in many of his ideas. In fact our orchestras and pianos are
tuned in accordance with his theories.
He invented an instrument called the monochord which consisted
of a hollow wooden box with one string and movable fret. He
discovered that when he divided the string exactly in half by means
of the fret, the tone produced was an octave higher than the tone
given out by striking the entire string; one-third of the string
produced the interval of a fifth above the octave; one-fourth the
length of the string produced a fourth above the fifth; one-fifth
produced a third (large or major) above the fourth; one-sixth
produced a third (small or minor); one-seventh produced a slightly
smaller third and one-eighth produced a large second, three octaves
above the sound of the entire string:
 The truth of Pythagoras’ theory of tone relationship has been
proven by an experiment in physics showing that all of the above
tones belong to the same tone family. An amusing experiment can be
made by pressing silently any one of the tones marked 2, 3, 4, 5, 6, or
8, and striking the fundamental tone sharply, the key you are
pressing silently will sound so that you can distinctly hear its pitch.
The Greeks seem to have had no harmony (that is, combining of
two or more tones in chords) outside of the natural result of men’s
voices and women’s singing together. But they had groups of singers
answering each other in what is called antiphony (anti-against,
phony-sound). Even our American Indians have their song leader
and chorus answering each other.
Greek rhythm followed the rhythm of the spoken word and was
considered a part of their poetic system.
 Greek Instruments

We have already spoken of the syrinx, Pan’s Pipes, the instrument

of Pan, the satyrs and of the shepherds; the monochord, Pythagoras’
invention; the lyre and kithara; and the flute or aulos.
The lyre, of the family of stringed instruments, was the Greek
national instrument. It was the first to be used in their musical
competitions, and helped in the forming of the Greek modes. These
were of two types, the lyre and the kithara. The first lyres which came
down from the age of myths and fables were originally made of the
shell of a tortoise and had four strings (the tetrachord) and later
seven and even more strings. This form of the lyre was called chelys,
or the tortoise, and was used for accompanying drinking songs and
popular love songs.
The kithara was also called lyre, but was not made of the body of
the tortoise, and it became the Greek concert instrument, and was
only used by professionals, while the chelys was used in the home. It
came originally from Asia Minor and Egypt. It had four strings at
first but these were gradually added to, until there were fifteen and
eighteen strings. It was sometimes small and sometimes large, and
was held to the body by means of a sling and was played with a
plectrum or pick.
The Greek flute or aulos was a wood-wind instrument more like
our oboe than our flute. It was usually played in pairs, that is, one
person played two flutes or auloi of different sizes at one time, and
they were V shaped. There was a group of auloi differing in range like
the human voice differs, and covering three octaves from the bass
aulos to the soprano.
The aulos was first a single wooden pipe with three or four finger
holes which later were increased to fifteen or sixteen so that the three
modes Dorian, Phrygian and Lydian, could be played on one pair of
auloi. About six centuries before the Christian era, the double flute
became the instrument of the Delphian and Pythian musical
competitions.
In the chorus too, we read that for each drama there was a special
aulos soloist who always played the double flute.
 There were other type instruments such as the war trumpets,
trumpets used in the temple services, and harps (magadis) that were
brought from Egypt, but the real instruments of the Greeks pictured
in their sculpture and on their vases and urns, and spoken of in their
literature, are the lyres and auloi.
 Roman Music

The Romans, law givers, world conquerors and road builders, gave
little new to music, for they did not show a great talent for art. They
were influenced by Greek ideals and Greek methods. They were
warlike by nature, and from defenders of their state they became
conquerors. As they grew nationally stronger and more secure, they
learned music, oratory, architecture and sculpture from Greek
teachers. Many Romans well known in history were singers and
gifted players on the Greek kithara, lyre, and flute (aulos).
The Romans seemed to have cared more about the performing of
music than for the composing of it, and “offered prizes to those who
had the greatest dexterity, could blow the loudest or play the fastest.”
(Familiar Talks on History of Music.—Gantvoort.)
As they come to America today the musicians of other lands
flocked to Rome, especially those who played or sang, because they
were received with honor and were richly paid.
The Romans, among them Boethius (6th century B.C.), wrote
treatises on the Greek modes, were very much interested in the
theory of music, and built their scales like the Greeks. To each of the
seven tones within an octave they gave the name of a planet, and to
every fourth tone which was the beginning of a new tetrachord, the
name of a day of the week which is named for the planet.
 B C D E F G A
Saturn Jupiter Mars Sun Venus Mercury Moon
Saturday Sunday Monday

B C D E F G A
Saturn Jupiter Mars Sun Venus Mercury Moon
Tuesday Wednesday

B C D E F G A
Saturn Jupiter Mars Sun Venus Mercury Moon
Thursday Friday

The days of the week in French show much more clearly than in
English the names of the planets, in the case of Tuesday—mardi,
(Mars); Wednesday—mercredi (Mercury); Thursday—jeudi,
(Jupiter); Friday—vendredi, (Venus).
The Greeks brought their instrument, the kithara, to Rome, and
with it a style of song called a kitharoedic chant, which was usually a
hymn sung to some god or goddess. The words, until three hundred
years after the birth of Jesus, were in the Greek language; the Latin
kitharoedic songs like those of the poets Horace and Catullus were
sung at banquets and private parties, Cicero too, was musical.
 Courtesy of the
Metropolitan
Museum of Art.

Chinese
Instruments.

Fig. 5.—Trumpets.
Fig. 6.—Te’ch’ing—sonorous stone.
Fig. 7.—Yang-Ch’in or Dulcimer.
 Fiddles from Arabia (Fig. 8, Rebab); Japan (Fig. 9, Kokin);
Corea (Fig. 10, Haggrine) and Siam (Fig. 11, See Saw Duang).

Edward MacDowell in Critical and Historical Essays, says that

instrumental music was no longer used merely to accompany voices
and had become quite independent. The flute (aulos) players
performed better than the lyre and kithara players and were liked
better. They played “dressed in long feminine, saffron (yellow)-
colored robes, with veiled faces, and straps around their cheeks to
support the muscles of the mouth.” They played with an astonishing
amount of technical skill. “Even women became flute players,
although this was considered disgraceful.” The prices paid to these
flute players were higher than the amounts received by our opera
singers.
The Roman theatre, unlike the Greek, was not a place to honor
their gods. Greek plays, both tragedy and comedy, were replaced
with pantomime, usually accompanied by orchestra and singing. The
orchestra was made up of “cymbals, gongs, castanets, foot castanets,
rattles, flutes, bagpipes, gigantic lyres, and a kind of shell or crockery
cymbals, which were clashed together.”
 The Roman tibia or bagpipe is still popular today with the
peasants of Italy. Although the bagpipe is first mentioned in Rome,
there are some Persian terra cotta figures made before the Roman
era, showing players of the bagpipes. It is always said that Nero
played the fiddle while Rome burned and even our motion pictures
show him playing the violin to the accompaniment of flames. How
could he have played on a violin when it had not as yet been
invented? If he played any instrument while Rome burned, it was
probably the tibia.
 CHAPTER V
The Orientals Make Their Music—Chinese, Japanese, Siamese,
Burmese, and Javanese

To hear two Chinamen exchanging greetings on a street corner, you

would think they were singing or rather chanting, not because their
tones are particularly pleasant for they are high and nasal and hard,
but because they are talking in their own peculiar way. The Chinese
have what is called an inflected language in which they use many
tones. For example the syllable “hi” in one tone will mean one thing
and it will mean something else entirely in each different inflection.
Here again is a case where it is hard to say where speech ends and
song begins. Another amusing thing about the Chinese is the way,
according to our ideas, they seem to twist every thing around, so that
what we call high tones they call low tones; they wear white for
mourning and we wear black; their guests of honor sit at the left of
the host and ours sit at the right; they consider taking off the hat very
bad manners and of course we consider it bad manners for a man to
keep it on in the house or when talking to a lady.
They never used their music as a way of expressing beauty as other
nations have done, but treated it as we would a problem in
arithmetic or a cross-word puzzle, and they loved to write articles on
the subject that would seem long and dull to us. However, as far back
as 2255 B.C. Ta Shao composed a piece of music which Confucius,
1600 years later, said, “enchanted him to such an extent that he did
not know the taste of food for months.”
After a print by
Gakutei—about
1840.

The Koto-Player.