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Des Jardins & Burton: Clinical Manifestations and Assessment of
Respiratory Disease, 5th Edition
Chapter 01: The Patient Interview

Test Bank

MATCHING

Match each item with the correct description below. Items may be used once, more than once, or
not at all.
a. “Tell me what you mean by sharp pain.”
b. “It must be hard—you used to be very active.”
c. “It seems you have an asthmatic episode every time you have a fight with your
husband.”
d. “You sound depressed today.”
e. “Now, don’t worry. I’m sure you will be alright.”
1. Confrontation
2. Assurance or reassurance
3. Empathy
4. Clarification
5. Interpretation

1. ANS: D
2. ANS: E
3. ANS: B
4. ANS: A
5. ANS: C

MULTIPLE CHOICE

1. An open-ended question
I. calls for short answers.
II. is used for narrative information.
III. elicits “cold facts.”

Copyright © 2006 by Mosby, Inc.

Test Bank 2

IV. enhances rapport.

a. II and IV only
b. I and III only
c. II, III, and IV only
d. I, II, III, and IV
ANS: A

2. Choose the term that best describes the following statement by an examiner: “You appear upset
today.”
a. Reflection
b. Facilitation
c. Confrontation
d. Closed or direct question
e. Interpretation
ANS: C

TRUE/FALSE

1. “Tell me what you mean by tight chest” is a confrontation question.

ANS: F

2. “It must be difficult to not be as active as you would like to be” is an empathy statement.

ANS: T

3. “Have you had this problem before” is a closed or direct question.

ANS: T

4. “You are worried about your job if you have this surgery” is a reflection statement.

ANS: T

5. “Tell me more about your chest pain” is an open-ended statement.

ANS: T

Copyright © 2006 by Mosby, Inc.

Exploring the Variety of Random
Documents with Different Content
 Inscriptions
The earliest inscriptions are practically only signatures, thus: “Mary
Hall is my name and when I was thirteen years of age I ended this
in 1662”; or, somewhat amplified: “Ann Wattel is my name with my
needle and thred I ded this sam and if it hath en beter I wold——”
(Remainder illegible.)[4]
The earliest inscriptions, other than a signature such as the
foregoing, that I have met with are Lora Standish’s (Fig. 43) and
Miles Fletwood’s referred to under “American Samplers,” dated 1654
(Fig. 44), and which has the rhyme, “In prosperity friends will be
plenty but in adversity not one in twenty.” The next, dated 1686, has
a saw which is singularly appropriate to a piece of needlework:
“Apparell thy self with ivstice and cloth thy self with chastitie so shall
thov bee happi and thy works prosper. Ann Tvrner” (Fig. 8). It is
dated 1686.
 Larger Image

Fig. 8.—Long Sampler, signed Ann Turner, 1686.

The late Mr A. Tuer.

In Plate VI., on a sampler of the same year, we have wording which

is not infrequently met with in the cycles which follow, as, for
instance, in Mrs Longman’s sampler, dated 1696, and in one of 1701.
It runs thus:—
“Look well to that thoo takest in Hand Its better worth
then house or Land. When Land is gone and Money is
spent Then learning is most Excelent Let vertue be
 Thy guide and it will keep the out of pride Elizabeth
Creasey Her Work done in the year 1686.”
Dated in 1693-94 are the set of samplers recording national events,
to which reference will be made elsewhere. In the last-named year
(1694) a sampler bears the verse:
“Love thou thee Lord and he will be a tender father unto
thee.”
And one of 1698, “Be not wise in thy own eyes.”—Sarah
Chamberlain.

Larger Image
Plate V.—Portion of Sampler by Mary Hall.
Dated 1662.
This plate only shows the upper half of a
remarkably preserved Sampler. Like its
fellow (Plate VI.) it is distinguished by its
admirable decorative qualities of colour
and design. The lower portion, not
reproduced, consists of three rows of
designs in white thread, and four rows of
drawn work. The inscription, which is in
the centre, and is reproduced in part,
runs thus:
“MaRy HaLL IS My NaMe AnD
WHen I WaS THIRTeen
yeaRS OF AGE I ENDED THIS In
1662.”
Size, 34 x 8½.
 Larger Image

Fig. 9.—Sampler by Eliz. Baker. Dated 1739.

A preference for saws rather than rhymes continues until the

eighteenth century is well advanced. The following are instances:—
“If you know Christ you need know little more if not Alls
lost that you have LaRnt before.”—Elisabeth Bayles,
1703.
“The Life of Truth buteafieth Youth and maketh it lovely to
behold Blessed are they that maketh it there staey
and pryes it more than gold it shall be to them a ryoul
 diadem transending all earthly joy.”—Elisabeth
Chester, 1712.
“Keep a strict guard over thy tongue, thine ear and thine
eye, lest they betray thee to talk things vain and
unlawful. Be sparing of thy words, and talk not
impertinently or in passion. Keep the parts of thy
body in a just decorum, and avoid immoderate
laughter and levity of behaviour.”—Sarah Grimes,
1730.
“Favour is deceitful And beauty is vain But a woman that
feareth the Lord She shall be praised.”—Mary Gardner,
aged 9, 1740.
Another undated one of the period is:—
“Awake, arise behold thou Hast thy Life ALIFe ThY Breath
ABLASt at night LY Down Prepare to have thy Sleep
thy Death thy Bed Thy Grave.”
One with leisure might search out the authors of the doggerel
religious and moral verses which adorned samplers. The majority are
probably due to the advent of Methodism, for we only find them
occurring in any numbers in the years which followed that event. It
may be noted that “Divine and Moral Songs for Children,” by Isaac
Watts, was first published in 1720, that Wesley’s Hymns appeared in
1736, and Dr Doddridge’s in 1738.
We may here draw attention to the eighteenth-century fashion of
setting out the Lord’s Prayer and the Ten Commandments (Fig. 9),
and other lengthy manuscripts from the Old Testament in tablets
similar to those painted and hung in the churches of the time. The
tablets in the samplers are flanked on either side by full length
figures of Christ and Moses, or supported by the chubby winged
cherubs of the period which are the common adornments of the
Georgian gravestones. In the exhibition at The Fine Art Society’s
were specimens dated 1715, 1735, 1740, 1757, and 1762, the Belief
taking, in three instances, the place of the Commandments. On
occasions the pupil showed her proficiency in modern languages as
well as with the needle, by setting out the Lord’s Prayer in French, or
even in Hebrew.
Contemporaneously with such lengthy tasks in lettering as the Tables
of the Law, came other feats of compassing within the confines of a
sampler whole chapters of the Bible, such as the 37th Chapter of
Ezekiel, worked by Margaret Knowles in 1738; the 134th Psalm (a
favourite one), by Elizabeth Greensmith in 1737, and of later dates
the three by members of the Brontë family.
The last-named samplers (Figs. 10, 11, and 12) by three sisters of
the Brontë family which, through the kindness of their owner, Mr
Clement Shorter, I am able to include here, have, it will be seen,
little except a personal interest attaching to them. In comparison
with those which accompany them they show a strange lack of
ornament, and a monotony of colour (they are worked in black silk
on rough canvas) which deprive them of all attractiveness in
themselves. But when it is remembered who made them, and their
surroundings, these appear singularly befitting and characteristic.
For, as the dates upon them show, they were produced in the
interval which was passed by the sisters at home between leaving
one ill-fated school, which caused the deaths of two sisters, and
their passing to another. It was a mournful, straitened home in
which they lived, one in which it needed the ardent Protestantism
that is breathed in the texts broidered on the samplers to uphold
them from a despair that can almost be read between the lines. It
was also, for one at least of them, a time of ceaseless activity of
mind and body, and we can well understand that the child Charlotte,
who penned, between the April in which her sampler was completed
and the following August, the manuscript of twenty-two volumes,
each sixty closely written pages, of a catalogue, did not take long to
work the sampler which bears her name. The ages of the three girls
when they completed these samplers were: Charlotte, 13; Emily
Jane, 11; and Anne, 10.
 Larger Image

Fig. 10.—Sampler by Charlotte Brontë.

Dated 1829.
Mr Clement Shorter.
 Larger Image

Fig. 11.—Sampler by Emily Jane Brontë.

Dated 1829.
Mr Clement Shorter.
 Larger Image

Fig. 12.—Sampler by Anne Brontë.

Dated 1830.
Mr Clement Shorter.

But the lengthiest task of all was set to six poor little mortals in the
Orphans’ School, near Calcutta, in Bengal, East Indies. These
wrought six samplers “by the direction of Mistress Parker,” dividing
between them the longest chapter in the Bible, namely, the 119th
Psalm. It was evidently a race against time, for on each is recorded
the date of its commencement and finish, being accomplished by
them between the 14th of February and the 23rd of June 1797. At
the top of each is a view of a different portion of the school; one of
these is reproduced in Fig. 3.
Returning to the chronological aspect of sampler inscriptions. As the
eighteenth century advances we find verses coming more and more
into fashion, although at first they are hardly distinguishable from
prose, as, for instance, in the following of 1718:—
“You ask me why I love, go ask the glorius son, why it
throw the world doth run, ask time and fat [fate?] the
reason why it flow, ask dammask rosees why so full
they blow, and all things elce suckets fesh which
forceeth me to love. By this you see what car my
parents toock of me. Elizabeth Matrom is my name,
and with my nedell I rought the same, and if my
judgment had beene better, I would have mended
every letter. And she that is wise, her time will pris
(e), she that will eat her breakfast in her bed, and
spend all the morning in dressing of her head, and
sat at deaner like a maiden bride, God in His mercy
may do much to save her, but what a cas is he in that
must have her. Elizabeth Matrom. The sun sets, the
shadows fleys, the good consume, and the man he
deis.”
More than one proposal has been made, in all seriousness, during
the compilation of this volume, that it would add enormously to its
interest and value if every inscription that could be found upon
samplers were herein set out at length. It is needless to say that it
has been altogether impossible to entertain such a task. It is true
that the feature of samplers which, perhaps, interests and amuses
persons most is the quaint and incongruous legends that so many of
them bear, but I shall, I believe, have quite sufficiently illustrated
this aspect of the subject if I divide it into various groups, and give a
few appropriate examples of each. These may be classified under
various headings.
 Verses commemorating Religious Festivals
These are, perhaps, more frequent than any others. Especially is this
the case with those referring to Easter, which is again and again the
subject of one or other of the following verses:—
“The holy feast of Easter was injoined
To bring Christ’s Resurrection to our Mind,
Rise then from Sin as he did from the Grave,
That by his Merits he your Souls may save.

“White robes were worn in ancient Times they say,

And gave Denomination to this Day
But inward Purity is required most
To make fit Temples for the Holy Ghost.”
Mary Wilmot, 1761.
Or the following:—
“See how the lilies flourish wite and faire,
See how the ravens fed from heaven are;
Never distrust thy God for cloth and bread
While lilies flourish and the Raven’s fed.”
Mary Heaviside, 1735.
Or the variation set out on Fig. 19.
 Larger Image

Plate VI.—Portion Sampler by Elizabeth Creasey.

of
Dated 1686.
The Late Mr A. Tuer.
This Sampler, of which only the upper
half is reproduced, is remarkable not
only for the decorative qualities of its
design but for its perfect state of
preservation. It consists, besides the four
rows which are seen, of one other in
which the drawn work is subservient in
quantity to the embroidery, and of seven
rows in which the reverse is the case.
 The inscription, which is set out below,
alternates in rows with those of the
design. The butter colour of the linen
ground is well reproduced in the plate.
The original measures 32×8.
INSCRIPTION.
“Look Well to that thou takest in
Hand Its Better Worth Then house
Or Land When Land is gone and
Money is spent Then learn
ing is most Excelent
Let vertue Be Thy guide and it will
kee
p the out of pride Elizabeth
Creasey
Her work Done in the year 1686.”

As also in that by Kitty Harison, in our illustration, Fig. 13.

 Larger Image

Fig. 13.—Easter Sampler by Kitty Harison. Dated 1770.

The Christmas verse is usually:—

“Glory to God in the Highest”;
but an unusual one is that in Margaret Fiddes’s sampler, 1773:—
“The Night soon past, it ran so fast. The Day
Came on Amain. Our Sorrows Ceast Our Hopes
Encreast once more to Meet again A Star appears
Expells all Fears Angels give Kings to
 Know A Babe was sent With that intent to
Conquer Death below.”
Ascension Day is marked by:—
“The heavens do now retain our Lord
Until he come again,
And for the safety of our souls
He there doth still remain.
And quickly shall our King appear
And take us by the hand
And lead us fully to enjoy
The promised Holy Land.”
Sarah Smith, 1794.
Whilst Passion Week is recognisable in:—
“Behold the patient Lamb, before his shearer stands,” etc.
The Crucifixion itself, although it is portrayed frequently in German
samplers (examples in The Fine Art Society’s Exhibition were dated
1674, 1724, and 1776), is seldom, if ever, found in English ones, but
for Good Friday we have the lines:—
“Alas and did my Saviour bleed
For such a worm as I?”

Verses taking the Form of Prayers,

Dedications, Etc.
Amongst all the verses that adorn samplers there were none which
apparently commended themselves so much as those that dedicated
the work to Christ. The lines usually employed are so familiar as
hardly to need setting out, but they have frequent varieties. The
most usual is:—
 “Jesus permit thy gracious name to stand
As the first Effort of young Phoebe’s hand
And while her fingers on this canvas move
Engage her tender Heart to seek thy Love
With thy dear Children let her Share a Part
And write thy name thyself upon her Heart.”
Harriot Phoebe Burch,
aged 7 years, 1822.
A variation of this appears in the much earlier piece of Lora Standish
(Fig. 43).
Another, less common, but which again links the sampler with a
religious aspiration, runs:—
“Better by Far for Me
Than all the Simpsters Art
That God’s commandments be
Embroider’d on my Heart.”
Mary Cole, 1759.
Verses to be used upon rising in the morning or at bedtime are not
unfrequent; the following is the modest prayer of Jane Grace Marks
(1807).
“If I am right, oh teach my heart
Still in the right to stay,
If I am wrong, thy grace impart
To find that better way.”
But one in my possession loses, by its ludicrousness, all the
impressiveness which was intended:—
“Oh may thy powerful word
Inspire a breathing worm
To rush into thy kingdom Lord
To take it as by storm.
 Oh may we all improve
Thy grace already given
To seize the crown of love
And scale the mount of heaven.”
Sarah Beckett, 1798.
Lastly, a prayer for the teacher:—
“Oh smile on those whose liberal care
Provides for our instruction here;
And let our conduct ever prove
We’re grateful for their generous love.”
Emma Day, 1837.

Verses Referring to Life and Death

The fact that “Religion never was designed to make our pleasures
less” appears seldom or never to have entered into the minds of
those who set the verses for young sampler workers. From the
earliest days when they plied their needle their thoughts were
directed to the shortness of life and the length of eternity, and many
a healthy and sweet disposition must have run much chance of
being soured by the morbid view which it was forced to take of the
pleasures of life. For instance, a child of seven had the task of
broidering the following lines:—
“And now my soul another year
Of thy short life is past
I cannot long continue here
And this may be my last.”
And one, no older, is made to declare that:—
“Thus sinners trifle, young and old,
Until their dying day,
 Then would they give a world of gold
To have an hour to pray.”
Or:—
“Our father ate forbidden Fruit,
And from his glory fell;
And we his children thus were brought
To death, and near to hell.”
Or again:—
“There’s not a sin that we commit
Nor wicked word we say
But in thy dreadful book is writ
Against the judgment day.”
A child was not even allowed to wish for length of days. Poor little
Elizabeth Raymond, who finished her sampler in 1789, in her eighth
year, had to ask:—
“Lord give me wisdom to direct my ways
I beg not riches nor yet length of days
My life is a flower, the time it hath to last
Is mixed with frost and shook with every blast.”
A similar idea runs through the following:—
“Gay dainty flowers go simply to decay,
Poor wretched life’s short portion flies away;
We eat, we drink, we sleep, but lo anon
Old age steals on us never thought upon.”
Not less lugubrious is Esther Tabor’s sampler, who, in 1771, amidst
charming surroundings of pots of roses and carnations, intersperses
the lines:—
“Our days, alas, our mortal days
Are short and wretched too
 Evil and few the patriarch says
And well the patriarch knew.”
A very common verse, breathing the same strain, is:—
“Fragrant the rose, but it fades in time
The violet sweet, but quickly past the Prime
White lilies hang their head and soon decay
And whiter snow in minutes melts away
Such and so with’ring are our early joys
Which time or sickness speedily destroys.”
And the melancholy which pervades the verse on the sampler of
Elizabeth Stockwell (Fig. 14) is hardly atoned for by the brilliant hues
in which the house is portrayed.
 Larger Image

Plate VII.—Sampler by Hannah Dawe.

17th Century.
Formerly in the Author’s Collection.
This is a much smaller specimen than we
are wont to find in “long” Samplers, for it
measures only 18 × 7¼. It differs also
from its fellows in that the petals of the
roses in the second and third of the
important bands are in relief and
superimposed. The rest of the
decoration, on the other hand, partakes
much more of an outline character than
 is usual. As a specimen of a
seventeenth-century Sampler it leaves
little to be desired. It is signed Hannah
Dawe.

Larger Image

Fig. 14.—Sampler by Elizabeth Stockwell. 1832.

The late Mr A. Tuer.

The gruesomeness of the grave is forcibly brought to notice in a

sampler dated 1736:—
 “When this you see, remember me,
And keep me in your mind;
And be not like the weathercock
That turn att every wind.
When I am dead, and laid in grave,
And all my bones are rotten,
By this may I remembered be
When I should be forgotten.”
Ann French put the same sentiment more tersely in the lines:—
“This handy work my friends may have
When I am dead and laid in grav.” 1766.
It is a relief to turn to the quainter and more genuine style of Marg’t
Burnell’s verse taken from Quarles’s “Emblems,” and dated 1720:—
“Our life is nothing but a winters day,
Some only breake their fast, & so away,
Others stay dinner, & depart full fed,
The deeper age but sups and goes to bed.
Hee’s most in debt, that lingers out the day,
Who dyes betimes, has lesse and lesse to pay.”
This verse has crossed the Atlantic, and figures on American
samplers.
But the height of despair was not reached until the early years of the
nineteenth century, when “Odes to Passing Bells,” and such like,
brought death and the grave into constant view before the young
and hardened sinner thus:—
ODE TO A PASSING BELL
“Hark my gay friend that solemn toll
Speaks the departure of a soul
’Tis gone, that’s all we know not where,
Or how the embody’d soul may fare
Only this frail & fleeting breath
 Preserves me from the jaws of death
Soon as it fails at once I’m gone
And plung’d into a world not known.”
Ann Gould Seller, Hawkchurch,
1821.
Samplers oftentimes fulfilled the rôle of funeral cards, as, for
instance, this worked in black:—
“In memory of my beloved Father
John Twaites who died April 11 1829.
Life how short—Eternity how long.
Also of James Twaites
My grandfather who died Dec. 31, 1814.

How loved, how valu’d once, avails thee not

To whom related, or by whom begot,
A heap of dust alone remains of thee,
’Tis all thou art, and all the proud shall be.”
Curiously enough, whilst compiling this chapter the writer came
across an artillery non-commissioned officer in the Okehampton
Camp who, in the intervals of attending to the telephone, worked
upon an elaborate Berlin woolwork sampler, ornamented with urns,
and dedicated “To the Memory of my dear father,” etc.

Duties to Parents and Preceptors

That the young person who wrought the sampler had very much
choice in the selection of the saws and rhymes which inculcate
obedience to parents and teachers is hardly probable, and it is not
difficult to picture the households or schools where such doctrines as
the following were set out for infant hands to copy:—
 “All youth set right at first, with Ease go on,
And each new Task is with new Pleasure done,
But if neglected till they grow in years
And each fond Mother her dear Darling spares,
Error becomes habitual and you’ll find
’Tis then hard labour to reform the Mind.”
The foregoing is taken from the otherwise delightful sampler worked
by a child with the euphonious name of Ann Maria Wiggins, in her
seventh year, that is reproduced in Plate XII.
Preceptors also appear to have thought it well to early impress upon
pliable minds the dangers which beset a child inclined to thoughts of
love:—
“Oh Mighty God that knows how inclinations lead
Keep mine from straying lest my Heart should bleed.

Grant that I honour and succour my parents dear

Lest I should offend him who can be most severe.

I implore ore me you’d have a watchful eye

That I may share with you those blessings on high.

And if I should by a young youth be Tempted,

Grant I his schemes defy and all He has invented.”
Elizabeth Bock,
1764.
Samplers were so seldom worked by grown-up folk that one can
hardly believe that the following verse records an actual catastrophe
to the peace of mind of Eleanor Knot:—
ON DISINGENUITY
“With soothing wiles he won my easy heart
He sigh’d and vow’d, but oh he feigned the smart;
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