oat itself, but the
cough and difficulty of breathing point to the throat. The trouble is
not there, but in the roots of the nerves by which vital energy is
supplied to the windpipe and other vocal organs. You must go to the
back of the neck, and to the back between the upper parts of the
shoulders, and there affect the roots that are really in a state of
distressing over-action. If you are skilful enough in applying cold,
and your patient has plenty of general warmth, you need nothing more
than a cold towel, changed pretty often, and nicely pressed over the
proper parts. If this fails, have recourse to a cloth with mustard
spread like thin butter on it, say about six inches broad and a foot
long. Lay this gently on the spine at the back of the neck, and down as
far as it goes. Apply your cold compresses now over this as well as you
can, and the violent spasmodic symptoms will be mitigated. If one trial
is not sufficient, sprinkle the cold cloth with cayenne. If the result
can be reached by the cold cloth alone, it will be best. If mustard or
cayenne must be applied, observe very carefully that they should never
distress the patient. As much as can be borne quite easily, and no
more, should be employed. Whenever a remedy becomes seriously
distressing, we may be pretty sure it has ceased to be remedial, for
the time at least.

Throat, Sore (Clergyman's).--Those who are in the habit of using their
voice much should be very careful to produce it in the proper way. It
is noticeable that actors (who learn to produce their voice properly)
do not suffer from what is known as clergyman's sore throat.

The voice in speaking should be pitched, as a rule, considerably lower
than is usually done, especially if speaking in public. Any tightening
of the throat muscles should be avoided, and the voice sent out from a
full chest well expanded.

Those who are musical should take a note on the piano enunciating the
vowels in their natural order ([=a], ay, ee, o, oo) on this note. Then
proceed to the next note; the whole of the octave may thus be gone
over. Choose an octave most consonant with the range of the voice.

Then add the consonants: b[=a], bay, bee, c[=a], cay, etc., etc. Thus a
perfect command over all the possible combinations of vowels and
consonants may be attained.

There is absolutely no reason why any musical person should have an
unmusical voice, especially since this bad production of the voice
often strains the