But here is a case where the most experienced eye, aided by the best possible instrument, sees nothing wrong in the throat 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 muscles and inflames the mucous membrane of the throat. In connection with this question of music, it should be remembered that almost irretrievable injury to the voice may be done by allowing a boy to continue singing after his voice has begun to "break." It is not a good plan to be constantly "clearing" the throat whilst speaking. One gets to imagine after a while that it needs clearing when it really does not.