1. The relationship between stanza two and stanza three is most accurately expressed by which of the following?
(a) Stanza three extends the small, everyday losses in stanza two into more serious and personal territory.
(b) Stanza three provides hyperbolic examples of the effects of loss proposed in stanza two.
(c) Stanza three exposes the inherent contradictions in the ideas about loss advanced by stanza two.
(d) Stanza three repeats the emotional plea of stanza two in a more logical and rational form.

2. How many refrains does "One Art" contain?
(a) 3.
(b) 1.
(c) 2.
(d) 4.

3. What is the most reasonable interpretation of the speaker's line 13 claim that they have "lost two cities"?
(a) The speaker cannot find either city.
(b) The speaker is not welcome in either city.
(c) The speaker no longer lives in either city.
(d) The speaker is no longer interested in either city.

4. What kind of metrical foot is the most frequent in "One Art"?
(a) Dibrach.
(b) Iamb.
(c) Trochee.
(d) Spondee.

5. What does the colon at the end of line 7, "Then practice losing farther, losing faster," indicate about the "places, and names" in line 8?
(a) Places and names are examples of things that can be lost "farther" and "faster."
(b) Places and names are some of the last things that a person loses.
(c) Places and names are examples of things a person can only lose through "practice" and experience.
(d) Places and names are more upsetting to lose than small objects and small amounts of time.