The art of anaesthesia . Fig. 11.—Correct control of the head, the patient across the Fig. 12.—Incorrect control of the head, the patient parallel with the bed. COMPLETE GENERAL ANAESTHESIA 25 control of the will, , the muscles of the arms, legs, mas-seters. (b) Those muscles which usually act reflexly, , thesphincter muscles, respiratory muscles, uterine muscles. Graphically we may describe the patient who is rigidas follows: The arms and legs tend to flex, the fingers are clenched,the muscles of the neck resist the effort on the part of theanaesthetist to turn the head to the s
The art of anaesthesia . Fig. 11.—Correct control of the head, the patient across the Fig. 12.—Incorrect control of the head, the patient parallel with the bed. COMPLETE GENERAL ANAESTHESIA 25 control of the will, , the muscles of the arms, legs, mas-seters. (b) Those muscles which usually act reflexly, , thesphincter muscles, respiratory muscles, uterine muscles. Graphically we may describe the patient who is rigidas follows: The arms and legs tend to flex, the fingers are clenched,the muscles of the neck resist the effort on the part of theanaesthetist to turn the head to the side. The teeth aretightly closed, and it will be found that the lower jaw, whengrasped, cannot be made to open freely. The respirationis usually obstructed and the accessory muscles of respira-tion stand out hard and prominently. The eyelids aretightly shut. The breathing is thoracic, the abdominalmuscles, in vigorous subjects, showing clearly beneath theskin, tense and board-like. These signs may appear to-gether or separately. Pseudo-rigidity, or rigidity due to faulty position, ab-
Size: 1895px × 1319px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectanesthe, bookyear1919
