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Office 2016 For Seniors For Dummies®
Published by: John Wiley & Sons, Inc., 111 River Street,
Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2016 by John Wiley & Sons, Inc., Hoboken, New
Jersey
Media and software compilation copyright © 2015 by John Wiley
& Sons, Inc. All rights reserved.
Published simultaneously in Canada
No part of this publication may be reproduced, stored in a
retrieval system or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, scanning or
otherwise, except as permitted under Sections 107 or 108 of the
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permission should be addressed to the Permissions Department,
John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030,
(201) 748-6011, fax (201) 748-6008, or online at
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Trademarks: Wiley, For Dummies, the Dummies Man logo,

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are trademarks or registered trademarks of John Wiley & Sons,
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Library of Congress Control Number: 2015950349
ISBN 978-1-119-07749-7 (pbk); ISBN 978-1-119-07752-7 (ebk);
ISBN 978-1-119-07738-1 (ebk)
Office 2016 For Seniors For
Dummies®
Visit
www.dummies.com/cheatsheet/office2016for
seniors to view this book's cheat sheet.
Table of Contents
Cover
Introduction
About This Book
Foolish Assumptions
How This Book Is Organized
Conventions Used in This Book
Time to Get Started!
Part I: Getting Started with Office 2016
Chapter 1: The Two-Dollar Tour
Start an Office Application
Start a New Document
Explore the Office Ribbon and Tabs
Understand the File Menu (Backstage View)
Create a Document
Type Text
Insert a Picture
Move Around in a Document
Select Content
Zoom In and Out
 Change the View
Chapter 2: Exploring the Common Features
of Office 2016
Edit Text
Move and Copy Content
Choose Fonts and Font Sizes
Apply Text Formatting
Use the Mini Toolbar
Work with Themes
Check Your Spelling and Grammar
Chapter 3: Opening, Saving, and Printing
Files
Save Your Work
Open a Previously Saved File
Change the File Listing View
Email Your Work to Others
Share Your Work in Other Formats
Print Your Work
Recover Lost Work
Part II: Word
Chapter 4: Composing Your Thoughtsin
Word
Examine the Word Interface
Move Around and Select Text
Choose Paper Size and Orientation
Set Margins
Select the Right Screen View
Align and Indent Paragraphs
Change Line Spacing
Create Bulleted and Numbered Lists
 Chapter 5: Dressing Up Your Documents
Apply Styles and Style Sets
Insert Photos
Size and Format a Picture
Position a Picture
Add a Page Border
Apply a Background Color to a Page
Create Tables
Format a Table
Chapter 6: Taking Word to the Next Level
Number the Pages
Use Headers and Footers
Insert Cover Pages and Other Building Blocks
Print an Envelope
Perform a Mail Merge
Insert the Date and Time
Part III: Excel
Chapter 7: Creating Basic Spreadsheets in
Excel
Understand Excel’s Unique Features
Get Familiar with Spreadsheet Structure
Move the Cell Cursor
Select a Range
Type and Edit Cell Contents
Insert and Delete Rows, Columns, and Cells
Work with Worksheets
Chapter 8: Doing the Math: Formulas and
Functions
Learn How Formulas Are Structured
Write Formulas That Reference Cells
 Move and Copy Cell Content
Reference a Cell on Another Sheet
Understand Functions
Take a Tour of Some Basic Functions
Explore Financial Functions
Chapter 9: Creating Visual Interest with
Formatting and Charts
Adjust Row Height and Column Width
Wrap Text in a Cell
Apply Gridlines or Borders
Apply Fill Color
Format Text in Cells
Format the Spreadsheet as a Whole
Create a Basic Chart
Identify the Parts of a Chart
Format a Chart
Chapter 10: Using Excel as a Database
Understand Databases
Prepare a List for a Mail Merge
Store Data in a Table
Sort a Table
Filter Data in a Table
Split a Column’s Content
Merge the Contents of Columns
Part IV: Outlook
Chapter 11: Managing Email with Outlook
Set Up Outlook for the First Time
Set Up Additional Mail Accounts
Troubleshoot Mail Setup Problems
Take a Quick Tour of Outlook’s Mail Feature
 Receive and Read Your Mail
View Photos and Other Attachments
Reply to a Message
Compose a Message
Attach a File to a Message
Avoid Frauds, Scams, and Viruses
Chapter 12: Managing the Details: Contacts,
Notes, and Tasks
Store Contact Information
Edit and Delete Contacts
Choose How the Contact List Appears
Use the Contacts List
Create Notes
Categorize Notes
Use Tasks and the To-Do List
Update the Status of a Task
Set a Task Reminder
Chapter 13: Your Busy Life: Using the
Calendar
View Your Calendar
Create and Delete a Calendar Event
Set an Event to Recur
Configure Event Reminders
Add Holidays
Print a Hard Copy of Your Calendar
Part V: PowerPoint
Chapter 14: Getting Started with
PowerPoint
Explore the PowerPoint Interface
Work with PowerPoint Files
Understand PowerPoint Views
 Create New Slides
Use Slide Placeholders
Turn Text AutoFit Off or On
Change Slide Layouts
Move or Resize Slide Content
Manually Place Text on a Slide
Navigate and Select Text
Select Content
Chapter 15: Dressing Up Your Presentations
Understand and Apply Themes and Variants
Change the Presentation Colors
Edit Slide Masters
Format Text Boxes and Placeholders
Insert Pictures
Create a Photo Album Presentation
Chapter 16: Adding Movement and Sound
Animate Objects on a Slide
Add Slide Transition Effects
Set Slides to Automatically Advance
Add a Soundtrack
Chapter 17: Presenting the Show
Display a Slide Show Onscreen
Use the Slide Show Tools
Print Copies of a Presentation
Package a Presentation for Distribution
Make a Video of the Presentation
Appendix A: Customizing Office Applications
Customize the Quick Access Toolbar
Customize the Status Bar
Set Program Options
 Set Outlook Options
About the Author
Cheat Sheet
Advertisement Page
Connect with Dummies
End User License Agreement
 Introduction
Microsoft Office 2016 is by far the most popular suite of
productivity applications in the world, and with good reason. Its
applications are powerful enough for business and professional
use, and yet easy enough that a beginner can catch on to the
basics with just a few simple lessons.
If you’re new to Office 2016, this book can help you separate the
essential features you need from the obscure and more
sophisticated ones you don’t. For the four major Office
applications I cover in this book — Word, Excel, Outlook, and
PowerPoint — I walk you through the most important and
common features, showing you how to put them to work for
projects in your job, everyday life, and home.
About This Book
This book is written specifically for mature people like you, who
are relatively new to using Office applications and want to master
the basics. In this book, I tried to take into account the types of
activities that might interest you, such as investment planning,
personal finance, email, and documents and presentations that
you might need to prepare for work, clubs, volunteer
opportunities, or other organizations that you participate in.
Foolish Assumptions
This book assumes that you can start your computer and use the
keyboard and mouse (or whatever device moves the pointer
onscreen).

If you’re using a computer for the first time, Computers

For Seniors For Dummies shows you the essential skills that
all computer applications use.
Office 2016 runs on Windows 10 (the newest version of
Windows), Windows 8, and Windows 7 computer operating
systems, so I assume you’re using one of these. The examples in
this book show Office 2016 running in Windows 10, but Office
works mostly the same on all operating systems.
How This Book Is Organized
This book is divided into several handy parts to help you find
what you need and skip stuff you don’t use.

Part I: Getting Started with Office

In this first part of the book, I explain some basics that apply to
all the Office 2016 applications generically, such as saving,
opening, and printing files. I also show you some features that all
Office 2016 applications have in common, such as selecting and
formatting text, using the Clipboard, and applying formatting
themes.

Part II: Word

This part explores the most popular application in the Office suite,
Microsoft Word. This word processing program helps you create
letters, reports, envelopes, and myriad other text-based
documents. You’ll see how to format text, change page size and
orientation, insert graphics, and more.

Part III: Excel

In this part of the book, you can read about Excel, the Office
spreadsheet application. See how to enter text and numbers in a
worksheet, write formulas and functions that perform
calculations, and format worksheets attractively. You can also find
out how to create charts and use Excel to store simple databases.

Part IV: Outlook

Outlook is the email, contact management, and calendar
application in Office. In this part of the book, discover how to
send and receive email in Outlook, and also how to use Outlook
to track appointments and store your personal address book.

Part V: PowerPoint
In this part of the book, I show you the basics of PowerPoint, the
Office presentation application. You can read how to create
presentations that include text and graphics; create cool
animation and transition effects; add a musical soundtrack; and
share your presentation with others, either in a live-action show
or on CD.

The Appendix shows some simple ways to customize how

Office applications work when you start them.
Conventions Used in This
Book
This book uses certain conventions to help you find your way:

Wherever possible, I use labels on figures to point out what

you should notice on them. These labels reinforce something I
say in the text or contain extra tips and hints.
When you have to type something, I put it in bold type.
For menu and Ribbon commands, I use the ⇒ symbol to
separate the steps. For example, if I say to choose Home ⇒
Clipboard ⇒ Copy, click the Home tab, find the Clipboard
group, and then click the Copy button in that group. In most
cases, I provide the group name as part of the path to help
you find the command more quickly. (Each tab has a lot of
different commands on it.)

Tip icons point out extra features, special insights and

helps, or things to look out for.

Warning icons indicate potential problems to avoid,

problems that are difficult to fix or make bad things happen.
Time to Get Started!
This is your book; use it how you want. You can start at the
beginning and read it straight through, or you can hop to
whatever chapter or topic you want. For those of you who are
pretty new to computers, you might want to start at the
beginning. If you’re new to Office, the beginning part will give
you a good foundation on what features work similarly in all the
programs.
Part I
Getting Started with Office
2016

Visit www.dummies.com for more great content online.

Chapter 1
 The Two-Dollar Tour
Get ready to . . .
Start an Office Application
Start a New Document
Explore the Office Ribbon and Tabs
Understand the File Menu (Backstage View)
Create a Document
Type Text
Insert a Picture
Move Around in a Document
Select Content
Zoom In and Out
Change the View

Step right up for a tour of Microsoft Office, the most popular suite
of applications in the world!
Here are some of the things you can do with Office:

Write letters, reports, and newsletters.

Track bank account balances and investments.
Create presentations to support speeches and meetings.
Send and receive email.

The Office suite consists of several very powerful applications

(programs), each with its own features and interface, but the
applications also have a lot in common with one another. Learning
about one application gives you a head start in learning the
others.
In this chapter (and Chapter 2), I take you on a quick tour of
some of the features that multiple Office applications have in
common, including the tabbed Ribbon area. I also show you how
to insert text and graphics in the various applications, and how to
move around and zoom in and out.
In these first few chapters, I use Microsoft Word, PowerPoint, and
Excel as the example applications because all of them work more
or less the same way: They let you open and save data files that
contain your work on various projects. Microsoft Outlook works a
bit differently, as I show you in Chapters 11 through 13.

This book shows Microsoft Office in the Windows 10

operating system. Office works the same way in Windows 7
and Windows 8 except for minor differences in opening the
applications and working with files. I’ll explain any differences
as we go along.
Start an Office Application
The steps for starting an Office application differ depending on
which version of Windows you have:

Windows 10: Click the Start button, and then click All Apps.
Scroll down to the M section, and click Microsoft Office 16.
Then click the desired Office application.
Windows 8.1: From the Start screen, click the down arrow at
the bottom and then locate and click the application you want.
Or, from the Start screen, begin typing the first few letter of
the application’s name and then click it in the search results.
Windows 7: Click the Start button, and click All Programs.
Click the Microsoft Office 2016 folder, and then click the Office
application you want to start.
Start a New Document
When you open Word, Excel, or PowerPoint, a Start screen
appears, containing a list of recently used documents and
thumbnail images of templates you can use to start new
documents. To start a new blank document (which you’ll want to
do in order to follow along with this chapter), you can press the
Esc key, or you can click the Blank template. The template has a
slightly different name depending on the application; in Word it is
called Blank document, in Excel it’s Blank workbook, and so on.
Figure 1-1 shows the Start screen for Microsoft Word, for
example.

Figure 1-1

To create an additional new blank document after the application

is already up-and-running, press Ctrl+N at any time.
 Office 2010 and earlier started a blank document
automatically in Word, Excel, and PowerPoint, without having
to go through a Start screen. If you want that old-style
behavior back, click File and then click Options. On the
General page, scroll down to the bottom and clear the Show
the Start Screen When This Application Starts check box.
Another random document with
no related content on Scribd:
 Launcelot.—Nay, indeed, if you had your eyes, you might fail of
the knowing me: it is a wise father that knows his own child. Well, old
man, I will tell you news of your son: give me your blessing. Truth will
come to light; murder cannot be hid long,—a man’s son may; but, in
the end, truth will out.
Gobbo.—Pray you, sir, stand up: I am sure you are not Launcelot,
my boy.
Launcelot.—Pray you, let’s have no more fooling about it, but give
me your blessing: I am Launcelot, your boy that was, your son that
is, your child that shall be.
Gobbo.—I cannot think you are my son.
Launcelot.—I know not what I shall think of that: but I am
Launcelot, the Jew’s man; and I am sure Margery your wife is my
mother.
Gobbo.—Her name is Margery, indeed: I’ll be sworn, if thou be
Launcelot, thou art mine own flesh and blood. Lord, worship’d might
he be! What a beard hast thou got! thou hast got more hair on thy
chin than Dobbin, my fill-horse, has on his tail.
Launcelot.—It should seem, then, that Dobbin’s tail grows
backward: I am sure he had more hair of his tail than I have on my
face, when I last saw him.
Gobbo.—Lord, how art thou chang’d! How dost thou and thy
master agree? I have brought him a present. How ’gree you now?
Launcelot.—Well, well; but, for mine own part, as I have set up my
rest to run away, so I will not rest till I have run some ground. My
master’s a very Jew: give him a present! give him a halter: I am
famish’d in his service; you may tell every finger I have with my ribs.
Father, I am glad you are come: give me your present to one Master
Bassanio, who, indeed, gives rare new liveries: if I serve not him, I
will run as far as God has any ground.—O rare fortune! here comes
the man:—to him, father, for I am a Jew, if I serve the Jew any
longer.
—Act II, Scene II, Lines 29-104.
 HAMLET’S DECLARATION OF FRIENDSHIP

Hamlet. What ho! Horatio!

Horatio. Here, sweet lord, at your service.

Hamlet. Horatio, thou art e’en as just a man

As e’er my conversation coped withal.

Horatio. O, my dear lord,—

Hamlet. Nay, do not think I flatter;

For what advancement may I hope from thee
That no revenue hast, but thy good spirits,
To feed and clothe thee? Why should the poor be flatter’d?
No, let the candied tongue lick absurd pomp,
And crook the pregnant hinges of the knee
Where thrift may follow fawning. Dost thou hear?
Since my dear soul was mistress of her choice
And could of men distinguish, her election
Hath sealed thee for herself; for thou hast been
As one, in suffering all, that suffers nothing,
A man that fortune’s buffets and rewards
Hast ta’en with equal thanks: and blest are those
Whose blood and judgment are so well commingled
That they are not a pipe for Fortune’s finger
To sound what stop she pleases. Give me that man
That is not passion’s slave, and I will wear him
In my heart’s core, ay, in my heart of hearts,
As I do thee.

—From Act III, Scene 2.

OTHELLO’S APOLOGY
[The speech calls for great dignity, ease, and power, in both speech
and manner.]
Most potent, grave, and reverend signiors,
My very noble and approved good masters,
That I have ta’en away this old man’s daughter,
It is most true; true, I have married her:
The very head and front of my offending
Hath this extent, no more. Rude am I in my speech,
And little bless’d with the soft phrase of peace;
For since these arms of mine had seven years’ pith,
Till now some nine moons wasted, they have used
Their dearest action in the tented field,
And little of this great world can I speak,
More than pertains to feats of broil and battle,
And therefore little shall I grace my cause
In speaking for myself. Yet, by your gracious patience,
I will a round unvarnish’d tale deliver
Of my whole course of love; what drugs, what charms,
What conjuration, and what mighty magic,—
For such proceeding I am charg’d withal,—
I won his daughter.
...
Her father loved me; oft invited me;
Still question’d me the story of my life,
From year to year,—the battles, sieges, fortunes,
That I have pass’d.
I ran it through, even from my boyish days,
To the very moment that he bade me tell it:
Wherein I spake of most disastrous chances,
Of moving accidents by flood and field,
Of hair-breadth scapes i’ the imminent deadly breach,
Of being taken by the insolent foe
And sold to slavery, of my redemption thence
And portance in my travels’ history:
...

This to hear
Would Desdemona seriously incline:
But still the house-affairs would draw her thence;
Which ever as she could with haste despatch,
She’d come again, and with a greedy ear
Devour up my discourse: which I observing,
Took once a pliant hour, and found good means
To draw from her a prayer of earnest heart
That I would all my pilgrimage dilate,
Whereof by parcels she had something heard,
But not intentively: I did consent,
And often did beguile her of her tears,
When I did speak of some distressful stroke
That my youth suffer’d. My story being done,
She gave me for my pains a world of sighs:
She swore, in faith, ’twas strange, ’twas passing strange,
’Twas pitiful, ’twas wondrous pitiful:
She wish’d she had not heard it, yet she wish’d
That heaven had made her such a man: she thank’d me,
And bade me, if I had a friend that loved her,
I should but teach him how to tell my story,
And that would woo her. Upon this hint I spake:
She loved me for the dangers I had pass’d;
And I lov’d her that she did pity them.
This only is the witchcraft I have used.

THE SEVEN AGES

[This is a succession of purely imaginative ideas which the voice
should touch lightly. In this speech one meets always the question of
impersonation: shall the mewling infant, the whining schoolboy, the
sighing lover and the rest be imitated by the reader? It is in better
taste not to impersonate these seven characters beyond certain
almost imperceptible hints which the gayety of Jaques’s mind might
naturally throw off.]

All the world’s a stage,

And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms:
And then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper’d pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

—“As You Like it,” Act II, Scene 7.

SOLITUDE PREFERRED TO COURT LIFE

Duke S. Now, my co-mates and brothers in exile,

Hath not old custom made this life more sweet
Than that of painted pomp? Are not these woods
More free from peril than the envious court?
Here feel we but the penalty of Adam.
The season’s difference, as the icy fang
And churlish chiding of the winter’s wind,
Which, when it bite and blows upon my body,
Even till I shrink with cold, I smile and say
’Tis no flattery; these are counselors
That feelingly persuade me what I am.
Sweet are the uses of adversity,
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head;
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running brooks,
Sermons in stones, and good in everything.
I would not change it.

Amiens. Happy is your grace,

That can translate the stubbornness of fortune
Into so quiet and so sweet a style.

...

Duke S. Come, shall we go and kill us venison?

And yet it irks me the poor dappled fools,
Being native burghers of this desert city,
Should in their own confines with forked heads
Have their round haunches gor’d.

—“As You Like It,” Act II.

THE POTION SCENE

Scene: Juliet’s Chamber

(Enter Juliet and Nurse, who bears wedding garments.)

Juliet (looking at garments).

Ay, those attires are best; but, gentle nurse,

I pray thee, leave me to myself to-night;
For I have need of many orisons
To move the heavens to smile upon my state,
Which, well thou knowest, is cross and full of sin.
 (Enter Lady Capulet.)

Lady Capulet.

What are you busy, ho? need you my help?

Juliet.

No, madam; we have cull’d such necessaries

As are behoveful for our state to-morrow:
So please you, let me now be left alone,
And let the nurse this night sit up with you;
For, I am sure, you have your hands full all,
In this so sudden business.

Lady Capulet (crossing and kissing Juliet on the forehead).

Good night;
Get thee to bed and rest, for thou hast need.

(Exit Lady Capulet with nurse.)

Juliet (looking after them).

Farewell! God knows when we shall meet again.

I have a faint cold fear thrills through my veins,
That almost freezes up the heat of life:
I’ll call them back again to comfort me. (Runs to R.)
Nurse! What should she do there?
My dismal scene I needs must act alone.
Come, vial. (Takes vial from bosom.)
What if this mixture do not work at all?
Shall I be married then to-morrow morning?
No, no! (draws dagger) this shall forbid it.

(Lays dagger on table.)

Lie you there. (To vial.)

What if it be a poison, which the friar
Subtly hath ministered to have me dead,
Lest in this marriage he should be dishonored
Because he married me before to Romeo?
I fear it is; and yet, methinks, it should not,
For he hath still been tried a holy man.

(Puts vial in bosom.)

How if, when I am laid into the tomb,

I wake before the time that Romeo
Come to redeem me? there’s a fearful point!
Shall I not then be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like,
The horrible conceit of death and night,
Together with the terror of the place,—
As in a vault, an ancient receptacle,
Where, for these many hundred years, the bones
Of all my buried ancestors are packed;
Where bloody Tybalt, yet but green in earth,
Lies festering in his shroud; where as they say,
At some hours in the night spirits resort; ...
O, if I wake, shall I not be distraught,
Environed with all these hideous fears?
And madly play with my forefathers’ joints?
And pluck the mangled Tybalt from his shroud?
And, in this rage, with some great kinsman’s bone,
As with a club, dash out my desperate brains?
O, look! methinks I see my cousin’s ghost
Seeking out Romeo, ...
Stay, Tybalt, stay!—
Romeo, I come! (Drawing out vial—then cork.)
This do I drink to thee.

(Throws away vial. She is overcome and sinks to the floor.)

—From “Romeo and Juliet,” Act IV, Scene 3.

 BANISHMENT SCENE
SCENE III, A ROOM IN THE PALACE
(Enter Celia and Rosalind.)
Cel. Why, cousin; why Rosalind;—Cupid have mercy;—Not a
word?
Ros. Not one to throw to a dog.
Cel. No, thy words are too precious to be cast away upon curs,
throw some of them at me; come, lame me with reasons.
Ros. Then there were two cousins laid up; when the one should be
lamed with reasons, and the other mad without any.
Cel. But is all this for your father?
Ros. No, some of it for my father’s child: O, how full of briars is this
working-day world!
Cel. They are but burrs, cousin, thrown upon thee in holiday
foolery; if we walk not in the trodden paths, our very coats will catch
them.
Ros. I could shake them off my coat; these burrs are in my heart.
Cel. Hem them away.
Ros. I would try; if I could cry hem, and have him.
Cel. Come, come, wrestle with thy affections.
Ros. O, they take the part of a better wrestler than myself.
Cel. Is it possible, on such a sudden, you should fall into so strong
a liking with old Sir Rowland’s youngest son?
Ros. The duke my father lov’d his father dearly.
Cel. Doth it therefore ensue, that you should love his son dearly?
By this kind of chase, I should hate him, for my father hated his
father dearly; yet I hate not Orlando.
Ros. No ’faith, hate him not, for my sake.
Cel. Why should I not? Doth he not deserve well?
 Ros. Let me love him for that; and do you love him, because I do:
Look, here comes the duke.
Cel. With his eyes full of anger.
(Enter Duke Frederick, with Lords.)
Duke F. Mistress, despatch you with your safest haste, and get
you from our Court.
Ros. Me, uncle?
Duke F. You, cousin, within these ten days if thou be’st found so
near our public court as twenty miles, thou diest for it.
Ros. I do beseech your grace, let me the knowledge of my fault
bear with me: if with myself I hold intelligence, or have acquaintance
with mine own desires; if that I do not dream, or be not frantic (as I
do trust I am not), then, dear uncle, never so much as in a thought
unborn, did I offend your highness.
Duke F. Thus do all traitors, if their purgation did consist in words,
they are as innocent as grace itself: let it suffice thee, that I trust thee
not.
Ros. Yet your mistrust cannot make me a traitor: tell me, whereon
the likelihood depends.
Duke F. Thou art thy father’s daughter, there’s enough.
Ros. So was I, when your highness took his dukedom; so was I,
when your highness banish’d him: treason is not inherited, my lord:
or, if we did derive it from our friends, what’s that to me? my father
was no traitor: then, good my liege, mistake me not so much, to think
my poverty is treacherous.
Cel. Dear sovereign, hear me speak.
Duke F. Aye, Celia; we stay’d here for your sake. Else had she
with her father rang’d along.
Cel. I did not then entreat to have her stay, it was your pleasure,
and your own remorse; I was too young that time to value her, but
now I know her; if she be a traitor, so am I: we still have slept
together; rose at an instant, learn’d, play’d, eat together;

And wheresoe’er we went, like Juno’s swans,

Still we went coupled, and inseparable.

Duke F. She is too subtle for thee; and her smoothness,

Her very silence, and her patience,
Speak to the people and they pity her.
Thou art a fool: she robs thee of thy name;
And thou wilt show more bright, and seem more virtuous,
When she is gone: then open not thy lips;
Firm and irrevocable is my doom
Which I have pass’d upon her; she is banish’d.

Cel. Pronounce that sentence then on me, my liege;

I cannot live out of her company.

Duke F. You are a fool:—You, niece, provide yourself;

If you outstay the time, upon my honor,
And in the greatness of my word, you die.

(Exeunt Duke Frederick and Lords.)

Cel. O my poor Rosalind: whither wilt thou go?

Wilt thou change fathers? I will give thee mine.
I charge thee, be not thou more griev’d than I am.

Ros. I have more cause.

Cel. Thou hast not, cousin,

Pr’ythee, be cheerful: know’st thou not, the duke
Hath banish’d me his daughter?

Ros. That he hath not.

Cel. No? hath not? Rosalind lacks then the love

Which teaches thee that thou and I art one:
Shall we be sunder’d? shall we part, sweet girl?
No; let my father seek another heir.
Therefore devise with me, how we may fly,
Whither to go, and what to bear with us:
And do not seek to take your charge upon you,
To bear your griefs yourself, and leave me out;
For by this heaven, now at our sorrows pale,
Say what thou can’st, I’ll go along with thee.

Ros. Why, whither shall we go?

Cel. To seek my uncle.

Ros. Alas, what danger will it be to us,

Maids as we are, to travel so far?
Beauty provoketh thieves sooner than gold.

Cel. I’ll put myself in poor and mean attire,

And with a kind of umber smirch my face;
The like do you; so shall we pass along,
And never stir assailants.

Ros. Were it not better,

Because that I am more than common tall,
That I did suit me in all points like a man?
A boar-spear in my hand; and in my heart
Lie there what hidden woman’s fear there will,
We’ll have a swashing and a martial outside;
As many other mannish cowards have,
That do outface it with their semblances.

Cel. What shall I call thee when thou art a man?

Ros. I’ll have no other worse than Jove’s own page,

And therefore, look you, call me Ganymede.
But what will you be call’d?

Cel. Something that hath a reference to my state:

No longer Celia, but Aliena.

Ros. But, cousin, what if we assayed to steal

The clownish fool out of your father’s court?
Would he not be a comfort to our travel?

Cel. He’ll go along o’er the wide world with me;

Leave me alone to woo him: Let’s away
And get our jewels and our wealth together;
Devise the fittest time, and safest way
To hide us from pursuit that will be made
After my flight: Now go we in content,
To liberty, and not to banishment.

—From “As You Like It,” Act I.

CORYDON
By Thomas Bailey Aldrich
SCENE, A ROAD-SIDE IN ARCADY

Shepherd. Good sir, have you seen pass this way

A mischief straight from market-day?
You’d know her at a glance, I think;
Her eyes are blue, her lips are pink;
She has a way of looking back
Over her shoulder, and alack!
Who gets that look one time, good sir,
Has naught to do but follow.

Pilgrim. I have not seen this maid methinks,

Though she that passed had lips like pinks.

Shepherd. Or like two strawberries made one

By some sly trick of dew and sun.

Pilgrim. A poet.
Shepherd. Nay, a simple swain
That tends his flocks on yonder plain
Naught else I swear by book and bell.
But she that passed you marked her well
Was she not smooth as any be
That dwells here—in Arcady?

Pilgrim. Her skin was the satin bark of birches.

Shepherd. Light or dark?

Pilgrim. Quite dark.

Shepherd. Then ’twas not she.

Pilgrim. The peaches side

That next the sun is not so dyed
As was her cheek. Her hair hung down
Like summer twilight falling brown;
And when the breeze swept by, I wist
Her face was in a somber twist.

Shepherd. No that is not the maid I seek;

Her hair lies gold against her cheek,
Her yellow tresses take the morn,
Like silken tassels of the corn,
And yet brown-locks are far from bad.

Pilgrim. Now I bethink me this one had

A figure like the willow tree
Which, slight and supple, wondrously
Inclines to droop with pensive grace,
And still retain its proper place.
A foot so arched and very small
The marvel was she walked at all;
Her hand in sooth, I lack for words—
Her hand, five slender snow-white birds,
Her voice, tho’ she but said “God Speed”—
Was melody blown through a reed;
The girl Pan changed into a pipe
Had not a note so full and rife.
And then her eye—my lad, her eye!
Discreet, inviting, candid, shy,
An outward ice, an inward fire,
And lashes to the heart’s desire.
Soft fringes blacker than the sloe—

Shepherd. Good sir, which way did this one go?

Pilgrim. So he is off! The silly youth

Knoweth not love in sober sooth,
He loves—thus lads at first are blind—
No woman, only womankind.
I needs must laugh, for by the mass
No maid at all did this way pass.
 PART FOUR
Oratoric Reading and the Art of Public Speech
Discussion of forceful speech in making history. Value of forceful
speech. Practice selections.

HAMLET’S INSTRUCTION TO THE PLAYERS

Speak the speech, I pray you, as I pronounced it to you,—
trippingly on the tongue; but if you mouth it, as many of our players
do, I had as lief the town-crier spake my lines. Nor do not saw the air
too much with your hand, thus, but use all gently; for in the very
torrent, tempest, and, as I may say, whirlwind of your passion, you
must acquire and beget a temperance, that may give it smoothness.
Oh! it offends me to the soul to hear a robustious periwig-pated
fellow tear a passion to tatters,—to very rags,—to split the ears of
the groundlings; who, for the most part, are capable of nothing but
inexplicable dumb show and noise. I would have such a fellow
whipped for o’erdoing Termagant; it out-herods Herod. Pray you
avoid it.
—Shakespeare.
 CHAPTER XIII
ORATORIC READING AND THE ART OF PUBLIC SPEECH

Upon this important subject of public speaking, and the

interpretation of the addresses made by others, great men have thus
expressed themselves: Dr. Charles W. Eliot, formerly President of
Harvard University, says: “Have we not all seen, in recent years, that
leading men of business have a great need of a highly trained power
of clear and convincing expression? Business men seem to me to
need, in speech and writing, all the Roman terseness and the French
clearness. That one attainment is sufficient reward for the whole long
course of twelve years spent in liberal study.” Abraham Lincoln
likewise said: “Extemporaneous speaking should be practiced and
cultivated. It is the lawyer’s avenue to the public. However able and
faithful he may be in other respects, people are slow to bring him
business if he can not make a speech.”
Every thinker knows what a vital part eloquence plays in national
as well as individual welfare. If at first thought effective speaking
seems a simple thing and a superficial part of education, on mature
thought and consideration it will be found to be one of the most
complex, vital and difficult problems that education has to meet. And
yet, notwithstanding this complexity of the problem, the teacher is
cheered by the delightful assurance of giving the student a
consciousness of his latent talents and the ability to reveal and make
use of them for the proper influencing of his fellow men.
There is a belief fairly commonly held that only a limited few need
study the art of public speaking. Never was there a greater error or a
more fatal mistake—especially in a republic like ours, where every
man should be vitally interested in public affairs. No single citizen
can afford not to be able to stand before his fellows and clearly,
pleasingly and convincingly present his ideas upon any subject of
local, state, or national importance. It is no more an ornamental
accomplishment than is grammar, penmanship or simple arithmetic.
It should be as universal as “the three r’s.” The hints and selections
that follow are carefully chosen to incite every good citizen to the
acquirement of this useful and practical aid for his own benefit as
well as that of his fellows. All the lessons and analyses that have
gone before in these pages will materially aid in the elucidation of
these brief lessons.
The basis for development in Effective Speaking rests upon one’s
bodily, emotional and mental agencies of expression, and a
knowledge of their respective importance and efficient use. That
which counts most for development is conscientious practice; without
which, progress is impossible.
There are three definite means of communicating thought and
feeling to others: (a) Pantomime: face, hands, body; (b) Vocal: tone
sound; (c) Verbal: words, which are conventional symbols
manifesting mental and emotional states.
The problem, then, is to obtain a harmonious coördination of these
three languages. In other words, the content of the word when
spoken should be reflected in the tone and in the body. Thus speech
becomes effective merely because it receives its just and fair
consideration.
With this general understanding let us take up and master the
successive steps which ultimately lead to a realization of the desired
end.
The first important essential of effective speaking is the Spirit of
Directness. By this is meant natural, unaffected speech. Nothing can
be more important than that the person speaking use in public
address the ordinary elements of Conversation.
Hence, the first step is practice in natural speaking. Commit to
memory Hamlet’s Instructions to the Players given on a preceding
page. Do this not line by line, but the entire selection as a whole.
First: Read it through silently three times to familiarize yourself with
the subject-matter. Second: Read it aloud at least five times. Third:
Speak it conversationally at least five times from memory. In this
practice always be intensely conscious that you are addressing an
individual and not an audience.
 Now take any of the prose or poetic selections from the earlier
pages of this book, memorize them, after studying them as the
instructions require, and speak them directly and naturally, in the
ordinary conversational style.
Sufficient practice in this is the necessary preparation for the next
step, viz., the acquiring of a natural elevated conversational style,
which is merely another name for the higher type of public speaking.
Commit all, or a part, of the following selections, keeping in mind
that in speaking them you are addressing a group of people.

THE GETTYSBURG ADDRESS

By Abraham Lincoln
Fourscore and seven years ago our fathers brought forth upon this
continent a new nation, conceived in liberty, and dedicated to the
proposition that all men are created equal. Now we are engaged in a
great Civil War, testing whether that nation, or any nation, so
conceived and so dedicated, can long endure. We are met on a
great battlefield of that war. We are met to dedicate a portion of it as
the final resting place of those who here gave their lives that that
nation might live.
It is altogether fitting and proper that we should do this. But in a
larger sense we cannot dedicate, we cannot consecrate, we cannot
hallow this ground. The brave men, living and dead, who struggled
here, have consecrated it far above our power to add or detract. The
world will little note, nor long remember, what we say here, but it can
never forget what they did here.
It is for us, the living, rather to be dedicated here to the unfinished
work they have thus far so nobly carried on. It is rather for us to be
here dedicated to the great task remaining before us, that from these
honored dead we take increased devotion to the cause for which
they gave their last full measure of devotion; that we here highly
resolve that these dead shall not have died in vain, that the Union
shall, under God, have a new birth of freedom, and that the
government of the people, by the people, and for the people, shall
not perish from the earth.

By this time you should have mastered Ordinary Conversational

Style; Elevated Conversational Style; and Abandon and Flexibility of
Speech. The next consideration is the importance of Clearness.
Clearness in speech means making prominent central words and
subordinating unimportant words, or phrases. In other words, the
logical sequence of thought must be clearly shown. This is brought
about by a variety of inflections, changes of pitch, pause, etc.
Clearness in speech is dependent upon clearness of Thinking.
It is important now to give full consideration to the subject of
Emphasis. There are more ways than one of emphasizing your
thought. The most common way is by merely increasing the stress of
voice upon a word. This, however, is the most undignified form of
emphasis. It is common to ranters and “soap-box” orators and is one
mark of an undisciplined and uncultured man. Remember that
loudness is a purely physical element, and does not manifest
thought. Such emphasis is an appeal to the brute instinct, and is only
expressive of the lower emotions. But Inflection, Changes of Pitch,
Pause, Movement and Tone-Color—as have been fully explained in
preceding pages—all appeal to the exalted nature of man.
In proportion to the nobleness of an emotion or thought, we find a
tendency to accentuate these above-named elements. Such
methods of emphasis are appropriate to the most disciplined and
cultured man. More than that, they are the surest evidence of a great
personality.
Commit, then make clear to the hearer, the vital thought in the
following:

He have arbitrary power! My lords, the East India Company

have not arbitrary power to give him; the King has no arbitrary
power to give him; your Lordships have not; nor the
Commons; nor the whole legislature. We have no arbitrary
power to give, because arbitrary power is a thing which