Trochee || The Raven By Edgar Allan Poe

Trochee

A metrical foot consisting of an accented syllable followed by an unaccented syllable. Examples of trochaic words include “garden” and “highway.” William Blake opens “The Tyger” with a predominantly trochaic line: “Tyger! Tyger! Burning bright.” Edgar Allan Poe’s “The Raven” is mainly trochaic.

Rhyming Trochaic Octameter

This is a really carefully organized poem. Let's take a closer look at the first six lines (the first stanza), since what we see happening there gets repeated throughout the poem. Here it is, to jog our memory:

Line 1: Once upon a midnight dreary, while I pondered, weak and weary, A

Line 2: Over many a quaint and curious volume of forgotten lore – B

Line 3: While I nodded, nearly napping, suddenly there came a tapping, C

Line 4: As of some one gently rapping, rapping at my chamber door – B

Line 5:"'Tis some visitor," I muttered, "tapping at my chamber door – B

Line 6: Only this and nothing more." B

Let's start with the rhyming words (we put them in bold to make them easier to see). The first and third lines have a rhyming word at the middle and at the end of the line (as in "dreary" and "weary"). This is called internal rhyme. In the fourth line, the rhyme from the third line shows up in the middle of the sentence (see that "rapping" up there?) 

The most noticeable rhyme in the poem comes at the end of the second, fourth, fifth, and sixth lines in each stanza. It's easy to pick out, because it's always an "or" sound (e.g. lore, door, more, floor, Lenore, and of course, Nevermore). That means that two thirds of the lines in this poem end with the same sound. In English-professor jargon, this rhyme scheme would be called ABCBBB, with each letter standing for the sound that ends a line. (We put that up there, too, to make it easier to see.) 

As far as the meter goes, we can start by counting out the number of syllables. The first and third lines have sixteen syllables each. That makes eight pairs of syllables. The emphasis in these pairs is usually placed on the first syllable: (Once u/pon a /midnight/ dreary). This kind of syllable pair is called a trochee. Since there are eight syllable pairs in a line, we call it "octameter" (octo- standing for eight, as in octopus). So the meter is called trochaic octameter.

One thing about having a regular meter, though, is that poets can't resist playing with it. You probably noticed that the last line of each stanza is a lot shorter, with only seven syllables or three and a half feet. Plus, if you look really closely, you can see that the second, fourth, and fifth lines only have seven and a half feet. The trick is that in each of the lines ending in an "or" sound, Poe leaves off a syllable. That way the crucial "or" sits out there by itself, unattached to another syllable, making it stand out even more. (Source)

If you look, you can probably figure out a few of Poe's other little gimmicks. The point of all this is that he's trying to make his poem as musical, hypnotic, and captivating as possible. All of this complicated rhyme and rhythm aims at drawing you more completely into the world of the poem.

Text With Explanatory Notes

The Raven
By Edgar Allan Poe

1......Once upon a midnight dreary, while I pondered,1 weak and weary,
2......Over many a quaint2 and curious volume of forgotten lore,3
3......While I nodded, nearly napping, suddenly there came a tapping
4......As of some one gently rapping, rapping at my chamber4 door
5......"'Tis some visitor," I muttered, "tapping at my chamber door- 
6...........................Only this, and nothing more."

7......Ah, distinctly I remember it was in the bleak December
8......And each separate dying ember wrought its ghost5 upon the floor
9......Eagerly I wished the morrow;6 vainly I had sought to borrow
10....From my books surcease7 of sorrow—sorrow for the lost Lenore—
11....For the rare and radiant maiden whom the angels name Lenore— 
12.........................Nameless here for evermore.

13....And the silken sad uncertain rustling of each purple curtain
14....Thrilled me—filled me with fantastic8 terrors never felt before;
15....So that now, to still the beating of my heart, I stood repeating, 
16...."'Tis some visitor entreating9 entrance at my chamber door—
17....Some late visitor entreating entrance at my chamber door;— 
18.........................This it is, and nothing more."

19....Presently my soul grew stronger; hesitating then no longer, 
20...."Sir," said I, "or Madam, truly your forgiveness I implore10
21....But the fact is I was napping, and so gently you came rapping, 
22....And so faintly you came tapping, tapping at my chamber door, 
23....That I scarce was sure I heard you"—here I opened wide the door;— 
24.........................Darkness there, and nothing more.

25....Deep into that darkness peering, long I stood there wondering, fearing, 
26....Doubting, dreaming dreams no mortals ever dared to dream before; 
27....But the silence was unbroken, and the stillness gave no token, 
28....And the only word there spoken was the whispered word, "Lenore!"
29....This I whispered, and an echo murmured back the word, "Lenore!"— 
30.........................Merely this, and nothing more.

31....Back into the chamber turning, all my soul within me burning, 
32....Soon again I heard a tapping somewhat louder than before. 
33...."Surely," said I, "surely that is something at my window lattice:11
34....Let me see, then, what thereat12 is, and this mystery explore—
35....Let my heart be still a moment and this mystery explore;—
36.........................'Tis the wind and nothing more."

37....Open here I flung the shutter, when, with many a flirt13 and flutter,
38....In there stepped a stately raven of the saintly days of yore14;
39....Not the least obeisance15 made he; not a minute stopped or stayed he;
40....But, with mien16 of lord or lady, perched above my chamber door—
41....Perched upon a bust17 of Pallas18 just above my chamber door—
42.........................Perched, and sat, and nothing more.

43....Then this ebony19 bird beguiling20 my sad fancy into smiling,
44....By the grave and stern decorum of the countenance it wore.21
45...."Though thy crest22 be shorn23 and shaven, thou," I said, "art sure no craven,24
46....Ghastly grim and ancient raven wandering from the Nightly shore—
47....Tell me what thy lordly name is on the Night's Plutonian shore!"25
48.........................Quoth26 the Raven, "Nevermore."

49....Much I marvelled this ungainly fowl to hear discourse so plainly27,
50....Though its answer little meaning—little relevancy bore;28
51....For we cannot help agreeing that no living human being 
52....Ever yet was blest with seeing bird above his chamber door— 
53....Bird or beast upon the sculptured bust above his chamber door, 
54.........................With such name as "Nevermore."29

55....But the raven, sitting lonely on the placid30 bust, spoke only
56....That one word, as if his soul in that one word he did outpour. 
57....Nothing further then he uttered—not a feather then he fluttered- 
58....Till I scarcely more than muttered, "other friends have flown before— 
59....On the morrow he will leave me, as my hopes have flown before." 
60.........................Then the bird said, "Nevermore."

61....Startled at the stillness broken by reply so aptly spoken, 
62...."Doubtless," said I, "what it utters is its only stock and store,31
63....Caught32 from some unhappy master whom unmerciful Disaster
64....Followed fast and followed faster till his songs one burden bore— 
65....Till the dirges33 of his Hope that melancholy burden bore
66.........................Of 'Never—nevermore'."

67....But the Raven still beguiling all my fancy into smiling, 
68....Straight I wheeled a cushioned seat in front of bird, and bust and door; 
69....Then upon the velvet sinking, I betook myself to linking 
70....Fancy unto fancy, thinking what this ominous bird of yore—
71....What this grim, ungainly, ghastly, gaunt34 and ominous bird of yore
72.........................Meant in croaking "Nevermore."

73....This I sat engaged in guessing, but no syllable expressing 
74....To the fowl whose fiery eyes now burned into my bosom's core; 
75....This and more I sat divining,35 with my head at ease reclining
76....On the cushion's velvet lining that the lamplight gloated o'er, 
77....But whose velvet violet lining with the lamplight gloating o'er, 
78.........................She shall press, ah, nevermore!36

79....Then methought the air grew denser, perfumed from an unseen censer37
80....Swung by Seraphim whose footfalls tinkled on the tufted floor
81...."Wretch,"38 I cried, "thy God hath lent thee—by these angels he hath sent
82....Respite—39 respite and nepenthe,40 from thy memories of Lenore!
83....Quaff,41 oh quaff this kind nepenthe and forget this lost Lenore!"
84.........................Quoth42 the Raven, "Nevermore."

85...."Prophet!" said I, "thing of evil!— prophet still, if bird or devil!
86....Whether Tempter sent, or whether tempest tossed thee here ashore, 
87....Desolate yet all undaunted, on this desert land enchanted— 
88....On this home by horror haunted—tell me truly, I implore— 
89....Is there—is there balm in Gilead?43— tell me—tell me, I implore!"
90.........................Quoth the Raven, "Nevermore."

91...."Prophet!" said I, "thing of evil- prophet still, if bird or devil! 
92....By that Heaven that bends above us—by that God we both adore- 
93....Tell this soul with sorrow laden if, within the distant Aidenn,44
94....It shall clasp a sainted maiden whom the angels name Lenore— 
95....Clasp a rare and radiant maiden whom the angels name Lenore." 
96.........................Quoth the Raven, "Nevermore."

97...."Be that word our sign in parting, bird or fiend," I shrieked, upstarting- 
98...."Get thee back into the tempest and the Night's Plutonian shore! 
99....Leave no black plume as a token of that lie thy soul hath spoken! 
100..Leave my loneliness unbroken!—quit the bust above my door! 
101..Take thy beak from out my heart, and take thy form from off my door!" 
102.......................Quoth the Raven, "Nevermore."

103..And the Raven, never flitting, still is sitting, still is sitting 
104..On the pallid bust of Pallas just above my chamber door; 
105..And his eyes have all the seeming of a demon's that is dreaming,
106..And the lamplight o'er him streaming throws his shadow on the floor; 
107..And my soul from out that shadow that lies floating on the floor 
108.......................Shall be lifted— nevermore!45
.

THE END
Themes

Grief

The theme of the poem is the abject grief the narrator suffers after the death of his beloved. No matter how hard he tries, he cannot gain "surcease of sorrow . . . / For the rare and radiant maiden whom the angels name Lenore" (lines 10-11).

Finality of Death

The narrator, heartsick at the loss of Lenore, finds it extremely difficult to accept her death. When he hears the tapping, he even calls out her name, perhaps thinking that her spirit has come to visit him. But the raven, repeating the word "Nevermore," reminds him that Lenore will not return. Death is final and irreversible.

Mental Instability

So grief-stricken is the narrator with Lenore's death that he appears to become mentally unstable. The raven may be a hallucination--a manifestation of what he wishes to deny, the death of Lenore.

Who Is Lenore?

It is possible that Lenore, the idealized deceased woman in the poem, represents Poe’s beloved wife, Virginia, who was in poor health when Poe wrote "The Raven." She died two years after the publication of the poem, when she was only in her mid-twenties.

Criticism
Some reviewers in Poe’s day, including poet Walt Whitman, criticized “The Raven" for its sing-song, highly emotional quality. The poem is still criticized today–and often parodied–for the same reason. However, the consensus of critics and ordinary readers appears to be that the poem is a meticulously crafted work of genius and fully deserves its standing as one of the most popular poems in American literature. It is indeed a great work.

Figures of Speech

.......Alliteration is an important figure of speech in "The Raven" because of its ability to impart rhythm and musicality. Following are examples of alliteration in the poem, as well as other figures of speech.

Alliteration

Over many a quaint and curious volume of forgotten lore
.
While I nodded, nearly napping, suddenly there came a tapping
.
And the silken sad uncertain rustling of each purple curtain
.
Doubting, dreaming dreams no mortals ever dared to dream before
.
Open here I flung the shutter, when, with many a flirt and flutter
.
What this grim, ungainly, ghastly, gaunt and ominous bird of yore
Anaphora
And the Raven, never flitting, still is sitting, still is sitting
.
Though its answer little meaning—littlerelevancy bore
Metaphor
And each separate dying ember wrought its ghost upon the floor.
Comparison of the ash to a ghost
Onomatopoeia
While I nodded, nearly napping, suddenly there came a tapping
As of some one gently rapping, rapping at my chamber door
.
And the silken sad uncertain rustling of each purple curtain
.
Swung by Seraphim whose footfalls tinkled on the tufted floor
.
Meant in croaking "Nevermore."
Personification
On the cushion's velvet lining that the lamplight gloated o'er
The lamplight gloats, like a person.
.
.
Notes
1....pondered: Meditated, studied.
2....quaint: Archaic, old.
3....volume . . . lore: Book of knowledge or myths.
4....chamber: Bedroom or study.
5....ember . . . ghost: Each glowing wood fragment turned into ash.
6....morrow: Next day.
7....surcease: End, pause, delay.
8....fantastic: Unreal, imaginary; weird, strange.
9....entreating: Begging, pleading for.
10..implore: Beg, ask for.
11..lattice: Shutter.
12..thereat: There, at that place.
13..flirt: Jerk.
14..yore: The distant past.
15..obeisance: Bow, gesture of respect.
16..mien: Manner.
17..bust: Small sculpture showing the head, shoulders, and chest.
18..Pallas: Athena, Greek goddess of wisdom.
19..ebony: Black
20..beguiling: Charming, coaxing
21..decorum . . . wore: Look on its face.
22..crest: tuft of feathers on the head.
23..shorn: Cut.
24..craven: Coward.
25..Night's Plutonian shore: The narrator believes the raven is from the shore of the River Styx in the Underworld, the abode of the dead in Greek mythology. “Plutonian" is a reference to Pluto, the god of the Underworld.
26..Quoth: Spoke, said.
27..to hear . . . plainly: The narrator is surprised that the raven can speak.
28..little . . . bore: The raven's answer made little sense.
29..Nevermore: The narrator at first thinks the raven's name is "Nevermore." However, he later learns that "Nevermore" means he will never again see the woman he loved.
30..placid: Peaceful.
31..its only . . . store: The only word it can speak.
32..Caught: Learned.
33..dirges: Funeral hymns
34..this grim . . . gaunt: The bird is now the image of death.
35..divining: Trying to figure out.
36..press . . . nevermore: Never again rest her head on the cushion.
37..censer: Vessel in which incense is burned.
38..Wretch: The narrator is referring to himself.
39..Respite: Rest, pause.
40..nepenthe: Drug causing forgetfulness.
41..Quaff: Drink. 
42..Quoth: Said, spoke.
43..is . . . Gilead: Ointment used to heal. Anything that heals, soothes, or relieves suffering. The balm of Gilead is mentioned in the Bible (Jeremiah 8:22). 
44..Aidenn: Paradise, heaven, Eden.
45..Shall . . . nevermore: The narrator will never again see Lenore.

Study Questions and Writing Topics

Is the narrator sane? Explain your answer.
Does Lenore represent Poe's wife, Virginia? Explain your answer.
Write an essay that explain how poem achieves its rhythmic, musical effect?
Write a short poem that imitates the rhyme scheme and meter of "The Raven." The topic is open.
Author Information
.......Edgar Allan Poe was born on January 19, 1809, in Boston. After being orphaned at age two, he was taken into the home of a childless couple–John Allan, a successful businessman in Richmond, Va., and his wife. Allan was believed to be Poe’s godfather. At age six, Poe went to England with the Allans and was enrolled in schools there. After he returned with the Allans to the U.S. in 1820, he studied at private schools, then attended the University of Virginia and the U.S. Military Academy, but did not complete studies at either school. 
.......After beginning his literary career as a poet and prose writer, he married his young cousin, Virginia Clemm. He worked for several magazines and joined the staff of the New York Mirror newspaper in 1844. All the while, he was battling a drinking problem. After the Mirror published his poem “The Raven" in January 1845, Poe achieved national and international fame. Besides pioneering the development of the short story, Poe invented the format for the detective story as we know it today. He also was an outstanding literary critic. 
.......Despite the acclaim he received, Poe was never really happy because of his drinking and because of the deaths of several people close to him, including his wife in 1847. He frequently had trouble paying his debts. It is believed that heavy drinking was a contributing cause of his death in Baltimore on October 7, 1849.

Shaving Cream Crocs

The Red Wheelbarrow Free Poetry Lesson Plan

https://www.poets.org/poetsorg/poem/red-wheelbarrow

The Red Wheelbarrow
William Carlos Williams, 1883 - 1963
 so much depends
upon

a red wheel
barrow

glazed with rain
water

beside the white
chickens

Goals: For students to enjoy and explore their own creativity, and think about the craft and
process of writing poetry.

Materials:
• Children’s poetry picture book
• Free paint sample cards from a hardware store
• Collection of various objects
• Red Wheelbarrow poem text written as individual words on sheets of paper
• Students: notebooks and pens/pencils (for Seed Poem activity)

Warm-Ups for Thinking Imaginatively: (10 min)
• Pass out paint sample cards, and have students invent new color names – old-tennis-shoegray, dried-out-leaf-brown, sunset, etc.
• Hold up an object (crumpled paper, mug, marble, shawl, etc.) and have students describe
it (a mountain, rain, the world, an eye, a planet, etc.) What if the objects are moved
around? (i.e., roll the marble, shake the shawl)

Use this warm-up to discuss simile and metaphor.
Simile: a comparison stating that something is like or as something else.
Metaphor: a comparison stating that something is something else.

Red Wheelbarrow:
Bring the words of the poem “The Red Wheelbarrow” written individually on large sheets of
paper. Pass out one to each student or pair, and have them move around to build the poem by
standing in the order they want the words to go in. Discuss where they think lines should break,
and why certain words go together. At the end, read the original text and talk about how they
used the same building blocks to create their own unique poem.


Collaborative Writing: Seed Poem Activity (25 min)


Collaborative writing means writing together and sharing our ideas.
Make circles of 5 or 6. Write your name on the back of your paper.
Write one word at the top of your paper – this will be your “seed” for the poem.
Examples: Family, Pets, Friends, Basketball, Halloween.
Write the first line of your poem.

Example: Halloween
Our jack-o-lantern kept watch on the porch all night…

When I call “Time,” pass your poem to the person to your right. They read over what you’ve
written, then add a line or more to your poem. When I call “Time” next, pass your notebook to
the right again. We’ll keep going until the poems make a full circle.

When you get your original paper back, you can add a final line to complete your poem before
sharing it. First, volunteers read their seed poem aloud to the class; then everyone has a chance to
share in pairs.

*Some students this age may have trouble deciphering each others’ handwriting, you may need
to help or ask the writer what they meant.

The Benefits of Rose Water for Your Skin

I fell down an aloe vera rabbit hole. I love rose water. I used to pick our yard roses and put them in the bathroom sink with hot water and steam my face. Being a kid was fun. I just wanted to share this site because this is where I was reading up on the water. 

https://www.holistichealthherbalist.com/the-benefits-of-rose-water-2/

The Benefits of Rose Water for Your Skin

Rose as an herb is very cooling, soothing, anti-inflammatory, and astringent…the perfect recipe for those suffering from acne and irritation. Apply it to red, hot to the touch, blemished areas for a calming effect that helps balance the skin’s PH. This will, in turn, reduce redness and make your skin an un-ideal environment for acne-causing bacteria to breed. The best method to apply rose water is to spray it on the skin directly. This way none of it is wasted.

• Can be used for eye infections (just soak a soft cotton round and place over the eye)
• Balances the PH of our skin and clears acne
• Heals sunburn, bug bites, and rashes especially when steeped in apple cider vinegar, then applied to the area
• Soothes inflamed sore throats (use it as a gargle or add it to tea)
• Relieves PMS symptoms, menopausal symptoms, and gently balances hormones by reducing stress and anxiety (use as a body mist as needed)
• Relieves menstrual cramps and improves mood swings (when used as an essential oil diffused in the home)
• Improves depression and anxiety (breathe in the fragrance while spraying it on your skin)
• Soothes capillaries by tightening and strengthening them
• Improves circulation
• Curbs skin and bladder infections when added to tea
• Natural remedy for diarrhea and ulcers when added to digestive teas
• Adds shine to hair (just spritz it on after a shower)
• Enriches the body with nutrients when made with organic homegrown roses
• Soothes digestive problems when taken internally before and after meals
• Relieves a toothache when applied as a poultice (soak a cotton ball or gauze pad and apply directly)



DIY ROSE WATER RECIPE


You Will Need

• 1 cup of packed (preferably organic) rose petals that are clean and separated
• A pot of boiling water
• A mortar and pestle (for bruising the rose petals) you can tear them if you don’t have these
• 2 cups distilled water

Preparation

• Bring water to a rolling boil
• Add the bruised or torn rose petals to the boiling water
• Stir a few times
• Put on the lid (use one without a hole in it, you want to keep the steam in the pot) and boil until the color is completely gone from the petals
• Remove the pot from the heat and let it sit until completely cooled
• Strain into pretty bottles or into a spray bottle for easy use

Extras

• Once cooled, you can add a few drops of essential oil (like rose!)
• Add 4-5 drops of jojoba oil
• Add ¼ tsp glycerin (this helps the skin retain moisture)
• Add ¼ tsp aloe vera gel or juice

This rose water will keep for 1 week on the counter and about 2 weeks in the fridge. Keep a small spray bottle in your purse for quick and easy refreshment on hot days or in dry winter months.

Bats need houses too

When thinking Bird house, how about helping out the Bats!? 🦇











What are they?
Bats are mammals belonging to the order Chiroptera, a name of Greek origin meaning "hand-wing," which accurately describes the animal's most unusual anatomical feature. The order is divided into two suborders, the Megachiroptera, consisting of a single family, the flying foxes and their Old World fruit and flower eating relatives, and the Microchiroptera, composed of the rest of the bat families, some 17 in all. These families are further classified into about 180 genera and over 900 species; only rodents have a greater number of species. Even though the names imply otherwise, not all Megabats are larger than Microbats. Although it is true that certain species of flying foxes have wingspans of up to 5 feet, one member of the Megachiroptera, the flower-feeding Macroglosus, has a wingspan of only 10 inches. However, some of the Microchiroptera are very tiny; the smallest is probably the Philippine bamboo bat, Tylonycteris pachypus, its forearm measuring only 22mm. and weighing only 0.05 ounce. The largest Microbat is the tropical American false vampire, Vampyrumspectrum, with a wingspan of up to 40 inches.

Where are they?
Because bats are small, secretive, feed at night, and are unfamiliar to most people, they are sometimes regarded as rare. On the contrary, they are found throughout the world except for certain oceanic islands, the Arctic and Antarctic. Though most species inhabit the tropical and semitropical areas of the world, they are still common in the United States and are most numerous in the Southwest. Some bats prefer to roost in barns, attics, caves or abandoned mines, those shelters providing safety from predators, protection from fluctuations in weather, and seclusion for rearing the young. Other species select hollow trees or rock crevices as their daytime resting site, while certain ones are known to roost in exposed locations, clinging to tree trunks or hanging upside down from tree branches. To survive in colder regions, bats either hibernate in shelters with high humidity and temperatures above freezing, or migrate to warmer areas where food is available.

When did they appear?
Evidence for bat-like flying mammals appears as far back as the Eocene Epoch, some 50 million years ago; however, the fossil record tracing bat evolution is scanty. Based on similarities of bones and teeth, most authorities agree the bat's ancestors were probably insect eating placental mammals, possibly living in trees, and likely the same group that gave rise to shrews and moles. Bats are not rodents and are not even closely related to that group of mammals.

How do they fly?
Bats are unique. Even though they share the characteristics of all mammals - hair, regulated body temperature, the ability to bear their young alive and nurse them - bats are the only mammals to truly fly. The commonly named "flying!' squirrels and "flying" lemurs actually glide or parachute by means of a furred membrane, but only bats have the structural adaptations that allow for full powered flight.

The structure of the wing membrane, the arrangement of the bones supporting it, and the positioning of the muscles provide the bat with the lightness and maneuverability necessary for catching insects, hovering above flowers, or quickly avoiding obstacles. Extending from the sides of the body and incorporating the hands, legs, and tail are the two thin layers of skin containing blood vessels, nerves, and tendons that essentially make up the wing membrane.

The bones of the arm and four of the fingers are light, slender, and lengthened to support, spread, and manipulate the membrane. The thumb, usually with a sharp claw, is not attached but remains free for clinging to various surfaces. Unlike other mammals, the hind limbs are positioned so that the knees, when bent, point backward while the bottom of the feet face forward. The toes have claws which help in gripping and in hanging head down, the normal bat resting position. A long spur, the calcar, extends from one of the ankle bones and helps spread the interfemoral membrane, that part of the wing membrane between the tail and the hind legs. This membrane can form a basket or pouch to help catch and hold insects captured in flight.

Most of the flight muscles controlling the wing beat are attached to the shoulder blades, unlike birds, whose muscles are braced against the rib cage. Birds usually have a prominent breast keel where heavy muscles are attached; in bats, only one muscle is attached to the breastbone, the ribs are flattened, and there is some fusing of the vertebral joints, all adaptations that make the frame light and give the bat its incredible agility.

What do they eat?
Although various bat species eat different kinds of food, the vast majority consume a variety of insects such as moths, beetles, gnats, and crickets. In this respect, the bat's nocturnal behavior provides certain advantages. Enormous numbers of insects fly at night, and with the exception of spiders, there are few competitors for such food. Other than the occasional owl or snake, there are also few predators that can capture or pursue a bat in the dark. Night brings cool temperatures which help dissipate the heat generated by the muscular activity of flight. Because the bat has a thin wing membrane, flying during the heat of the day could be hazardous causing excessive absorption of heat and resulting in dehydration and possible heat prostration. Nocturnality offers protection from the heat and helps the bat maintain its body temperature and moisture.

"Blind as a bat" is a common saying yet one that is false. All bats can see, even though vision may be less important than other senses. To locate and catch prey, insectivorous bats use an acoustic orientation called echolocation. They emit a series of supersonic cries through the mouth or nose and detect flying insects by the echoes reflected back. Those species that produce sound through their noses usually have a flap of skin called a nose leaf above the nostrils. This may help to direct the sound, but its precise function is not known. The man credited with discovering that bats emit sounds in the ultrasonic range and navigate in response to echoes is Donald R. Griffin. Since his first findings were announced in 1940, numerous studies have been made in the field of echolocation, and it is the one area of bat life that has been investigated in any depth.

In addition to the ultrasonic sounds used in echolocation, bats also emit other sounds possibly to communicate or to indicate emotion. Purrs, clicks, and buzzing often precede mating of some species; some of these sounds may be ultrasonic. It has been observed that certain North American insectivorous bats vibrate when at rest and content. This vibration does not occur when they are asleep. Also, recognition of mothers and babies involves both audible and ultrasonic sound. The bat's ear is extremely mobile and sensitive to sound. The tragus, a lobe projecting in front of the ear opening, may have a sensory function; however, its exact use is not known.

According to analyses of stomach contents and the insect remains found near bat roosts, species vary in the insects they prefer. For example, the cave myotis, M. velifer, is known to enjoy a diversified diet of beetles, leafhoppers, flies, and moths while the Malaysian free-tailed bat exhibits greater selectivity and seems to prefer to catch ants engaged in nuptial flight. Small insects are often caught directly in the mouth, but larger ones are more frequently captured by the wing membrane, transferred and readjusted in the basket formed by the hind legs and the interfemoral membrane, then pulled to the mouth and eaten.

Not all bats seize their prey on the wing. Some specialize in catching land insects like grasshoppers or roaches that are found on the ground, rocks, or trees. In this instance, less energy is required to catch a few large insects than hundreds of tiny moths or gnats. Other bats use their feet to snatch insects from the surface of ponds and lakes. With the exception of three flower-eating species that migrate from Mexico, the bats in the United States are insectivorous.

Those species that eat pollen, nectar, and in some instances, petals from flowers, are found mainly in the tropics and semitropics. Pollen, like insects, is highly nutritious. The flower-eaters are usually small and have long pointed heads, long tongues, and the ability to hover and fly slowly. Fruit and sometimes insects also supplement their diet.

Most of the Old World fruit and flower eaters rely on vision and sense of smell to locate food rather than sonar. Unlike birds, bats are color blind and, therefore, not dependent on color for locating and choosing their food. Many prefer dark green or brown fruits with musty or sour odors instead of the more colorful varieties. These fruits usually hang from vines or grow from the trunk of a plant unobstructed by heavy tropical foliage.

A few species of bats are carnivorous, eating small frogs, lizards, and birds. Other species are known for their fish-eating habits and are usually specialized by having huge hind feet and claws. The best known of the fish-eating bats is the fishing bulldog bat, Noctilio leporinus, of Central and South America. How this bat actually finds its food is not completely understood, but many authorities believe that sonar is used to detect ripples on the water made by the fish. It catches its prey with large hooked claws, spears the fish with its canine teeth, gathers it up in the wing membrane, bites through the skull and eats it, all in a matter of seconds.

Can bats swim?
Although there is little scientific data on the subject, observations by naturalists in the field seem to support the fact that some bats swim in stressful situations but that it is not normally part of their ordinary behavior patterns. For example, flying foxes, often island inhabitants, may have to fly long distances to obtain food. A forced landing or a foray over water to collect fruit which has dropped and floated there may necessitate an unexpected swim. Photographs of the flying fox, Pteropus giganteus, show the animal actually swimming, using its wings and feet to reach land rather than floating or paddling.

Vampire Bats
Many questions received by the Museum concern the vampire bat. Because the true vampire bat of Central and South America feeds on blood, a popular misconception has been to link it to the human vampire legend. The Eastern European tale of a vampire, a corpse that came back to life and sucked blood from the neck of its human victim, dates back to the Middle Ages. In fact, there are no vampire bats native to Europe or Asia; they were not even known to exist before the 1500's when explorers visited the New World and observed their unusual eating habits. Indeed, the bat was named for the legend rather than the legend originating with the bat.

The vampire bat feeds mainly on the blood of cattle, horses, and wild mammals such as deer and peccaries. It seldom bites humans. When feeding it chooses to land near a hairless area of thin skin -- perhaps the hoof or shoulder of the animal -- hop or walk cautiously to a likely spot, lick it, then make a small incision and lap the animal's blood. The harm from such bites arises not from the amount of blood lost, which is relatively small, but rather from the exposure of the livestock to secondary infections, parasites, and the transmission of viral-borne diseases such as rabies.

Rabies occurs naturally in many wild animals. Actually, a higher incidence of the disease is found in skunks and foxes than in bats. In the United States the rate of occurrence is so small, barely a fraction of a percent, that there is very little danger to humans. Though experiments have shown that theoretically rabies is a virus that can be air-borne or transmitted through contact with infected bat urine, there is not one documented case of a human contracting the disease this way. Bat bites of humans are uncommon and rabies in humans resulting from such bites is extremely rare. But, bats can harbor the rabies virus and, therefore, should be handled with caution.

The greatest incidence of rabies occurs in the large vampire bat populations found in South America. Here the danger is not so much to the human population but rather to the livestock exposed to bat bites. In South America a major economic problem existed when large numbers of cattle were lost to rabies and infection. An effort to control and eradicate the vampire bat was initiated in 1968 by the Agency for International Development in cooperation with the Mexican government. The U.S. Fish and Wildlife Service was assigned the task of studying its habits to obtain some clues for its control. Using several different methods of nighttime surveillance, observation of the bat's grooming behavior provided the answer. Bats are extremely clean, sometimes grooming, licking, and scratching themselves for hours. The vampire bat, in particular, grooms both itself and its neighbors intensively. A paste-like anticoagulant poison that causes internal bleeding in the bat was smeared on likely areas, fetlocks or shoulders, of cattle that had been bitten. Vampire bats usually return to their victims for more food, so when they attack again, they come in contact with the poison. Back at the roost in the process of grooming, they ingest and spread the poison with the subsequent death of a large percentage of the colony. The treatment is specific for the vampire bat; no other species is affected, and the anticoagulant does not appear to hurt the livestock even when injected directly into the stomach. At the present time, the poison is being used successfully in Mexico, Central and South America.

What is the bat's life style?
For humans, daytime brings work and play. For bats it is the time to rest in some secluded shelter, hang head down, groom, sleep, and perhaps even quarrel. When night approaches, bat activity increases; they fly about inside their cave then finally emerge to forage for food and drink water. After feeding for an hour or two they may rest again, then have a second feeding before daybreak.

In many species, the males and females roost separately except when mating. In migratory species mating occurs in the fall and winter. The female stores the sperm until spring when ovulation and fertilization occur. In May or June the females congregate in large colonies and give birth. Most species bear only a single young per litter, but others may have two, three, or even four. The female hangs head up as the young is born, feet first. She catches and holds the new born in the pouch formed by the interfemoral membrane. The baby bat, already large and well developed, crawls to the mother's nipples, attaches itself and feeds. In the evening when the mother forages for food, she may, for the first few days, carry the young with her. Later the baby remains behind, clinging to the wall or roof of the cave or shelter. The mother may return several times during the night to feed her young.

How long do they live?
Among young bats, mortality is high. Some fall from the roof of their shelter and are not able to climb back; some succumb to disease or parasites. However, they do grow rapidly and are able to fly in about three weeks. Once the hazards of youth are over, bats enjoy a relatively old age, some reaching the age of 20 and in one documented case of a brown bat, to 30. Certainly they attain a longer life span than other mammals of similar size such as rodents that live for only one or two years.

How do they affect us?
The Smithsonian frequently is asked how to get rid of a bat or bats that invade a house or building. If a lone bat flies into your home, simply open all the doors and windows and allow it to find its own way out. If this is not successful, take a large towel or blanket, throw it over the animal, gather it up and put it outside. The bat will extricate itself from the cloth without any additional handling.

Eradicating large numbers of bats from buildings or barns is much more difficult since once they choose a place to roost, they continue to return to that site. The best approach is to take preventive measures. Screen various parts of the roof so that there are no crevices or openings where a bat can hide, or repair the roof or building to eliminate entrance holes. Sprays are not advised and can be much more dangerous than the presence of the bats.

In the United States bats are beneficial members of the animal community. They help to control night-flying insects, in some instances pollinate flowers, and scatter the seeds of plants. Their guano is rich in nitrogen and has been sold as fertilizer. Bats are valuable subjects for study. Investigations in the field of echolocation try to determine how bats assess their environment and how this information is coordinated and acted upon. What we learn about bats may help us understand similar physiological processes in man. In time, as we learn more of the bat's biology and habits, perhaps we can also adopt new attitudes that allow us to accept this soft furry creature as a natural part of our surroundings and have a greater appreciation for the role it plays in contributing to a healthy ecosystem.

Prepared by the Department of Systematic Biology, Vertebrate Zoology,
National Museum of Natural History, in cooperation with Public Inquiry Services,
Smithsonian Institution

November 1980

Summer Crab Feast Party Decoration DIY

Crab Snow flake.. in Baltimore this could be an all year long decoration. 

rhythm and meter in English poetry

rhythm and meter in English poetry
English poetry employs five basic rhythms of varying stressed (/) and unstressed (x) syllables. The meters are iambs, trochees, spondees, anapests and dactyls. In this document the stressed syllables are marked in boldface type rather than the tradition al "/" and "x." Each unit of rhythm is called a "foot" of poetry.
The meters with two-syllable feet are

• IAMBIC (x /) : That time of year thou mayst in me behold
• TROCHAIC (/ x): Tell me not in mournful numbers
• SPONDAIC (/ /): Break, break, break/ On thy cold gray stones, O Sea!

Meters with three-syllable feet are

• ANAPESTIC (x x /): And the sound of a voice that is still
• DACTYLIC (/ x x): This is the forest primeval, the murmuring pines and the hemlock (a trochee replaces the final dactyl)

Each line of a poem contains a certain number of feet of iambs, trochees, spondees, dactyls or anapests. A line of one foot is a monometer, 2 feet is a dimeter, and so on--trimeter (3), tetrameter (4), pentameter (5), hexameter (6), heptameter (7), and o ctameter (8). The number of syllables in a line varies therefore according to the meter. A good example of trochaic monometer, for example, is this poem entitled "Fleas":

Adam
Had'em.

Here are some more serious examples of the various meters.
iambic pentameter (5 iambs, 10 syllables)

• That time | of year | thou mayst | in me | behold

trochaic tetrameter (4 trochees, 8 syllables)

• Tell me | not in | mournful | numbers

anapestic trimeter (3 anapests, 9 syllables)

• And the sound | of a voice | that is still

dactylic hexameter (6 dactyls, 17 syllables; a trochee replaces the last dactyl)

• This is the | forest pri | meval, the | murmuring | pine and the | hemlocks

Writing Strategies

Writing Strategies

Writing to express opinions, provide information, and/or create a story goes far beyond letter
formation and spelling rules. In school, students are learning the writing process. Out of school,
help is needed to reinforce, encourage, and support students in their writing process. Writing
out of school provides a connection between writing and everyday experiences. These
strategies reinforce what your student is learning in third grade.

Activities to do at home:

• Help your child organize his/her thoughts by planning what he/she wants to write. Using
sticky notes or a graphic organizer will provide a visual way to accomplish this.
• Discuss family stories and history. Encourage your child to ask questions. Work together
with your child to create a book, magazine, poem, short story, newspaper article,
pamphlet, or other written narrative of your family’s history.
• Encourage (and help) your child to write a letter, birthday card, get well card, thinking of
you card, or thank you note to family members or friends.
• Help your child create a poster, collage, pictograph, or infographic about something
your child or your family learned or experienced recently.
• Encourage your child to draw and/or write his/her own version of a favorite story. Or,
encourage your child to create or write a next chapter (or page) for his/her favorite
book.

When your child asks a question, research the answer together using books or
computers (under your supervision). Then create an informative poster or collage which
tells the question, the answer, and uses both texts and illustrations to show what they
learned.

• Encourage your child to find a picture from a newspaper or magazine, cut it out, paste it
on paper, and write a story about it.
• Help your child choose something that he/she wants to do or learn to do. Work with
your child to research information related to the topic chosen. Ask your child to create a
brochure, flyer, or “How To” manual or guide describing/explaining the topic, or how to
do something. Then, together, you and your child can follow the guide to do or learn to
do the chosen topic.
• During a family event, take a photograph. After the family event, ask your child to write
a brief summary to go along with the photograph and send the photograph and your
child’s summary to the local newspaper to be printed with community events.
• Keep a family journal of trips, weekends, and special times spent together. Your child
can both write and illustrate the journal. Pick a favorite entry from the journal and use it
to expand your child’s writing. You and your child can write a longer piece or story about
that event and illustrate it with photographs or drawings.
• Under your supervision, begin to help your child use a computer to research a topic or
communicate with friends and family. Your child can also use the computer to write
his/her own pieces or pieces you write together.

Reading Strategies

Reading Strategies

Reading outside of school provides the additional support and encouragement that allows
students to create a deep passion for reading, to deepen their comprehension skills, and to
build a broad vocabulary knowledge. Reading strategies can be developed and used before,
during, and after reading takes place. These strategies reinforce what your student is learning in
third grade.

Activities to do at home:
• Provide a time and space for your child to read every day.
• Find small and simple poems. Read them together and talk about the feelings they
convey. Try making up your own poems together about objects, people you know, or
anything you like!
• Read to your child or have your child read to you every day. Reading aloud to children,
of all ages, provides opportunities to discuss more challenging and complex plots and
themes which builds critical thinking skills.
• As your child learns to read new words and understand the meaning of those words,
help him/her keep track of them in his/her own dictionary. Your child can write them
down, draw pictures to illustrate the words or the definitions, or write sentences with
the words.
• Discuss any confusing parts, elements, or information in the book, chapter, or passage.
• Start a family book club. Let different members of the family pick the book. This could
be a good way to enjoy quality family time while experiencing the joy of reading
together!
• Ask your child to retell what he/she read in his/her own words.
• Ask your child to summarize what he/she read and tell what he/she learned from what
was read. This could be connected to something in real life, another reading, or to
events happening in the world.
• Visit the local library and make reading fun for the entire family
Give your child opportunities to participate in new experiences. Visit museums, the zoo,
theaters, historical sites, aquariums, etc. to help build your child’s vocabulary and
speaking skills.
• Find a series that interests your child and begin to read it together. You can read to your
child, your child can read to you, and he/she can read a chapter independently. You and
your child can interview each other as you read — ask about main ideas, events, and
thoughts you each have about the books and characters.
• Begin a family project of building vocabulary. Ask all family members to contribute to
the project by submitting new vocabulary words they read or hear. Vocabulary words
may be compiled in a decorative container in a prominent place. Family members
practice using the new vocabulary words in their speaking and writing.
• Act out a story, poem, or other text as if it is a play by using different voices for the
characters. This will help children practice appropriate pacing while reading and
encourage reading with expression.
• As your child develops favorite authors, look online for that author’s website. Your child
can email or write a letter to the author (under your supervision). The author may even
be at a book signing or other events in your neighborhood for you and your child to
attend.
• When you or your child uses a word with a prefix or suffix, stop to talk about it. Break
down the word and talk about what the prefix or suffix and the root word mean
together. Think of other words that have that same suffix or prefix. You can also write
the word out on two separate cards, with the prefix on one and the root word on the
other and make new words with the cards. Write down the different words with
prefixes and suffixes you and your child use.
• Talk about current events together. Discuss with your child so he/she understands what
is happening and how it connects to him/her, other events that he/she may have seen
or read about, and other areas of the community.
• Use magnetic letters, letter tiles, or cards from games to create both real and silly
words. Practice building longer words by putting together shorter words and sounds.
• After your child reads a story, make up your own version, changing details such as
setting, time, or even the ending. You can change the story so it occurs in places or with
characters you know. This helps your child understand story structure and make
comparisons. Alternatively, make up your own version of a fairy tale or known story.
• Possible questions/prompts to ask as or after your child reads:
o Who was this about?
o What were the main ideas/topics?
o Where did this take place?
o Retell the story in sequential order.
o What is the lesson/moral? How do you know?
o Which of these details is really important to the story? How do you know?
o How did the characters’ actions help move the story along?
o What do you think the author is trying to say when he/she uses the word/phrase
____?
o What clues can you find in the sentence or paragraph that help you figure out the
meaning of _______?
o How does what the author said in an earlier paragraph help us understand what is
happening now?
o Who is telling the story in this section? How do you know?
o What clues do the illustrations in the story provide to help you understand the plot
(or setting or characters) of the story?
o How are these two stories different? Similar?
o Summarize the text.
o What details explain or support the main idea?
o How are ________ and _______ related?
o What is the result of _________’s idea?
o What does the word ______ mean in this sentence?
o What did you do to help you figure out an unknown word?
o Do you agree or disagree with what the author has said so far?
o What information did you get from the map/chart/photo?
o How was this text written? (sequence, comparison, cause/effect, etc.)
o What details does the author use to support his/her point?
o What is the root word in ______?
o Does _____ have a prefix or suffix? What does the prefix/suffix do to the root word?
o What strategies can you use when you don’t understand the text?

Lemon Meringue Cheesecake Recipe

Lemon Meringue Cheesecake


Ingredients
2 cups Chessman or shortbread cookie crumbs
1/4 cup melted butter
3 (8 ounce) packages cream cheese, softened
1 cup sour cream
1 cup white sugar
4 eggs
1/4 cup fresh lemon juice

Lemon Meringue 1 teaspoon vanilla extract
1 lemon, zested
4 egg whites
1/4 cup white sugar
1/4 teaspoon cream of tartar (optional)
1 1/2 cups lemon curd
INGREDIENTS FOR LEMON CURD
1/4 cup (60ml) fresh lemon juice (about 1–2 lemons)
2 tsp finely grated lemon zest
1/3 cup (69g) sugar
4 egg yolks
3 tbsp (42g) salted butter

INSTRUCTIONS
1. Combine all the ingredients in a double boiler (or in a metal bowl over a pot of simmering water). Heat while whisking constantly until mixture thickens and reaches 160 degrees, or coats the back of a spoon.
2. Pour the lemon curd into a heat proof bowl, cover with clear wrap pressed onto the the top of the curd to avoid a film developing, and refrigerate until cold.
3. Serve with your desired treat. Lemon curd is best when well covered and consumed within 1-2 weeks.

Directions
Preheat oven to 325 degrees F (165 degrees C).
Mix cookie crumbs and melted butter together in a bowl until evenly combined; press into the bottom of a 9-inch pan (spring form works great)
Beat cream cheese, sour cream, and 1 cup sugar together in a bowl using an electric mixer until creamy. Add eggs one at a time, beating well after each addition. Mix lemon juice, vanilla extract, and lemon zest into cream cheese mixture, scraping bottom and sides of the bowl. Spread mixture over cookie crust in the pan.
Bake in the preheated oven until almost set in the center, about 1 hour. Cool to room temperature and refrigerate until completely cooled, at least 3 to 4 hours.
Preheat oven to 375 degrees F (190 degrees C).
Beat egg whites in a bowl using an electric mixer until soft peaks form; add 1/4 cup sugar and cream of tartar and beat until stiff, but not dry, peaks form.
Spread lemon curd over cheesecake. Mound whipped egg whites over the curd, sealing around all the edges.
Bake in the preheated oven until meringue is golden brown, about 10 minutes. Chill uncovered in refrigerator, about 1 hour.

This cheesecake will take about 5 hours and it's worth it!

Quick desserts you can make with boxed cake mix

If you've fallen victim to the 10 for $10 boxed cake mix sales like the rest of the world, here are a few desserts you can make.


FUNFETTI STRAWBERRY SHORTCAKE

1 cup Funfetti cake mix
1 cup all-purpose flour, plus more for dusting
1 tablespoon baking powder
1 cup heavy cream, plus more for whipped cream
Rainbow jimmies (optional)
4 tablespoons butter, melted
Rainbow nonpareils (optional)
Fresh strawberries, sliced

1. Preheat the oven to 400˚F. Line a baking sheet with parchment paper.
2. Whisk the cake mix, flour and baking powder in a large bowl until combined. Add the heavy cream and stir until a sticky dough forms. Stir in extra rainbow jimmies, if desired.
3. Transfer the dough to a lightly floured surface and pat into a 1-inch thick disk. Cut into circles using a glass or cookie cutter. Re-roll scrap and cut out more circles until you have 6.
4. Dunk each biscuit in the melted butter, flipping to coat both sides, and transfer to the baking sheet. Top with rainbow nonpareils, if desired. Bake 20 minutes or until golden. Let cool slightly.
5. Meanwhile, beat some heavy cream (with sugar + vanilla, if desired) until soft-peaks form for the filling.
6. Gently split the biscuits in half and fill with the whipped cream and strawberries.


LEMON POUND CAKE COOKIES
1 box lemon cake mix
2 eggs
1/2 cup vegetable oil
1/2 tsp baking powder

ICING:
2 cups confectioners sugar-sifted
3 1/2 Tbsp. lemon juice
1/2 tsp vanilla (optional-cuts the tart of the lemon a bit)

Preheat oven to 350 degrees. In a large bowl, mix cake mix, eggs, oil, and baking powder (consistency will be very thick). Drop in teaspoonfuls onto an ungreased baking sheet. Bake for 10 to 12 minutes (cookies should still look soft and should not brown).

For the icing: In a separate bowl, sift confectioners sugar and add lemon juice one tsp at a time then add vanilla. Whisk until icing forms that is thin enough for drizzling. You can add more lemon juice to make it thinner. Drizzle over cooled cookies.


Chocolate Cake Mix Waffles (only 4 Ingredients)

1 (16.5 oz) pkg Devil's Food Chocolate Cake Mix
1 cup water
1/3 cup vegetable oil
3 large eggs

Instructions
Preheat a waffle iron (I recommend using medium heat). Prepare batter according to directions on package.
Spray waffle iron with non-stick cooking spray and pour amount listed from waffle iron manufactures instructions into waffle iron and cook according to time listed on instructions.
Serve warm with a Nutella Sauce:
Whisk together 3/4 cup Nutella with 4 Tbsp milk (or more to thin as desired) until smooth. Warm in microwave if desired. Drizzle over waffles.
For extra WOW top with whipped cream and fresh strawberries.



CINNAMON ROLL WAFFLES

Vanilla cake mix
1 stick butter
1 cup milk
3 eggs
1 tsp vanilla


Vanilla frosting
1 stick butter
1/4 cup water

For the Cinnamon/Sugar Swirl: 1⁄4 cup sugar and 1⁄4 cup cinnamon (to top the waffle dough before cooking and to sprinkle over the vanilla drizzle on top of the cooked waffles)

DIRECTIONS

Preheat your waffle iron to low-medium heat.
Make your cake mix according to the package instructions, adding in the vanilla with the eggs and milk. Allow the waffle mix to rest for a few minutes. Set aside.
Make your frosting according to the package instructions.
Before cooking each waffle, spray nonstick spray on either side of the waffle iron to prevent your cake waffle from sticking.
Gently pour your batter onto the waffle iron. While the batter is still wet on the griddle surface, sprinkle a small amount of your cinnamon sugar mixture. You can spoon a tiny bit more dough on top to try to swirl your cinnamon-sugar within the waffle, just be careful not to over-fill your waffle iron.
Allow to cook through in the waffle iron. Cooking these cake mix waffles will also need a few more minutes than typical waffles to cook because the cake batter is more dense. Just keep watching your waffles and remove carefully with a spatula once the top appears golden brown.

Drizzle your frosting on each individual waffle and sprinkle a little extra cinnamon-sugar on top.

NOTE: Be sure not to over-fill your waffle iron. Because this is cake dough, it puffs up quite a bit with contact to heat.

FROSTING DRIZZLE TRICK: Using a spatula, scrape some of your frosting into one corner of a zip top bag. Hold the corner of the bag and use the other hand to twit the top until your frosting is all in one corner. Snip the end of the bag at that corner and gently squeeze to pipe your frosting drizzle on your waffles. Instead of piping cool frosting, you could also microwave a small amount of your frosting in a microwave-safe bowl for about 15+ seconds and using a spoon, drizzle the warm frosting onto your waffles.

elevator speech (elevator pitch)

How to use value-based language to advocate for library services to children & families


An elevator speech is a clear, brief message or “commercial” about you. It communicates who you are, what you're looking for and how you can benefit a company or organization. It's typically about 30 seconds, the time it takes people to ride from the top to the bottom of a building in an elevator.


The 30 Second Elevator Speech
An elevator speech is a clear, brief message or “commercial” about you. It communicates who you are,
what you’re looking for and how you can benefit a company or organization. It’s typically about 30
seconds, the time it takes people to ride from the top to the bottom of a building in an elevator. (The
idea behind having an elevator speech is that you are prepared to share this information with anyone, at
anytime, even in an elevator.) At a career fair, you can use your speech to introduce yourself to
employers. It is important to have your speech memorized and practiced. Rehearse your 30 second
elevator speech with a friend or in front of a mirror. The important thing is to practice it OUT LOUD. You
want it to sound natural. Get comfortable with what you have to say so you can breeze through it when
the time comes.
This elevator speech is:
•absolutely not longer than 25 to 30 seconds
•or - in words - approximately 80 to 90 words
•or - in sentences - 8 tot 10 sentences
A SAMPLE ELEVATOR SPEECH OUTLINE
These 10 speech topics will help to write a carefully planned and prepared presentation that grabs
attention and says a lot in a few words. This format suggestion helps you to avoid creating a sales pitch.
Use each idea to write one short powerful sentence.
ABOUT YOU
1. Smile to your counterpart, and open with a statement or question that grabs attention: a hook that
prompt your listener to ask questions.
2. Tell who you are: describe you and your company.
3. Tell what you do and show enthusiasm.
WHAT DO YOU OFFER
4. Tell what problems have solved or contributions you have made.
5. Offer a vivid example.
6. Tell why you are interested in your listener.
WHAT ARE THE BENEFITS
7. Tell what very special service, product or solutions you can offer him or her.
8. What are the advantages of working with you? In what do you differ from competative companies?
HOW DO YOU DO IT
9. Give a concrete example or tell a short story, show your uniqueness and provide illustrations on how
you work.
CALL FOR ACTION
10. What is the most wanted response after your elevator speech? Do you want a business card, a
referral or an appointment for a presentation after your elevator speech?
OTHER BUSINESS QUESTIONS
These are other points, questions and business subjects you could ask yourself:
•Who is your target?
•How large is your market volume?
•How do you make profits?
•What are the background, major milestones and achievements of your team?
•Who are your competitors, how do they solve a problem? What is your strenght and advantage
compared to them? What is your Unique Selling Proposition? Are there special patents or technology?
Do you have a special approach in client management? And so on.
CHECKLIST FOR FINETUNING
STEP 1: First write down all what comes up in your mind.
STEP 2: Then cut the jargon and details. Make strong short and powerful sentences. Eliminate
unnecessary words.
STEP 3: Connect the phrases to each other. Your elevator address has to flow natural and smoothly.
Don't rush.
STEP 4: Memorize key points and practice.
STEP 5: Have you really answered the key question of your listener: What's In It For Me?
STEP 6: Create different versions for different business situations of your elevator speech. Note them on
professional business cards. 
What information might you include in your elevator speech for a career fair? Consider sharing your
name, year in school, major skills and career goals. Include personal information only if it is relevant to
the work for which you are applying. Here are some examples to help you get started developing your
30 second elevator speech.
Examples:
Hi, my name is Samantha Atcheson, and I am a senior Environmental Sciences major. I’m looking for a
position that will allow me to use my research and analysis skills. Over the past few years, I’ve been
strengthening these skills through my work with a local watershed council on conservation strategies to
support water quality and habitats. Eventually, I’d like develop education programs on water
conservation awareness. I read that your organization is involved in water quality projects. Can you tell
me how someone with my experience may fit into your organization?
Nice to meet you, I’m Alex Biondo. I’m currently a senior and am studying Computer and Information
Science. I hope to become a computer programmer when I graduate. I’ve had a couple of internships
where I worked on several program applications with a project team. I enjoy developing computer
applications for simple business solutions. The position you have listed in UO-JobLink seems like it would
be a perfect fit for someone with my skills. I’d like to hear more about the type of project teams in your
organ.
Hi, my name is Brad. I am currently a sophomore student attending XYZ University in Wallapallooza,
Maparaza. In college I plan on majoring in business, specifically in the area of finance. This summer I did
an internship with the Groundhog Hedge Fund Group and I hope to work in my college’s credit union
when I return to school this fall. Ever since I can remember I have always had an interest in numbers and
I feel certain that this is something I want to do in my future career. Next summer I’m hoping to get
another internship learning more about how the international finanicial market operates. I also want a
career working with people since I enjoy assisting others with their finances and I had a blast this year
preparing a presentation as a team with a group of other students for my business management
introductory course.”
Here's how it could be adapted for a job-seeker:
• Who am I? (introduce yourself) -- No change
• What business am I in? -- What field or industry am I in?
• What group of people do I service? (be specific -- do you have a niche?) -- What position am I in?
In what capacity do I serve?
• What is my USP (Unique Selling Proposition)? What makes me different from the competition? -
- No change
• What benefits do my customers derive from my services? -- What benefits can employers derive
from skills, based on my proven accomplishments?
Similarly, in a job-hunting situation, the listener's tacit question may be "Why should I (or any employer)

hire you?"