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This test consists of 15 multiple choice questions and 5 short answer questions.

Multiple Choice Questions

1. Stanzas four through six have which techniques in common?
(a) First person and indicative mood.
(b) Second person and imperative mood.
(c) First person and imperative mood.
(d) Second person and indicative mood.

2. Which technique is used in the speaker's claim to have lost "some realms I owned, two rivers, a continent" (line 14)?
(a) Personification.
(b) Hyperbole.
(c) Imagery.
(d) Simile.

3. What is a reasonable statement to make about the effect of the enjambment in lines 8 and 9, "places, and names, and where it was you meant/ to travel"?
(a) It creates an angry, agitated tone because of the isolation of the word "meant," which ends with a harsh sound.
(b) It creates a humorous effect because the words that complete the thought on line 9 are unexpected.
(c) It creates the sense of something being missing or lost because the thought is interrupted by enjambment.
(d) It creates irony because the thought's completion on line 9 is actually the opposite of what the speaker means.

4. In line 7, "Then practice losing farther, losing faster," rhythm is created through which devices?
(a) Parallelism, diacope, and consonance.
(b) Anaphora, assonance, and asyndeton.
(c) Cacophony, epizeuxis, and diazeugma.
(d) Alliteration, epistrophe, and antithesis.

5. How many lines does "One Art" have?
(a) 20.
(b) 17.
(c) 18.
(d) 19.

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

7. What does the speaker use in line 5 as an example of a common lost object?
(a) Glasses.
(b) Socks.
(c) Keys.
(d) Pens.

8. What is the meaning of the word "fluster" in line 4?
(a) Sudden, uncoordinated movement.
(b) Humorous coincidence.
(c) Tiring inconvenience.
(d) Confused agitation.

9. 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.

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

11. 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 more upsetting to lose than small objects and small amounts of time.
(b) Places and names are examples of things that can be lost "farther" and "faster."
(c) Places and names are some of the last things that a person loses.
(d) Places and names are examples of things a person can only lose through "practice" and experience.

12. What is used for the first time in the poem's final stanza?
(a) Parenthetical expressions.
(b) Coordinating conjunctions.
(c) Sentence fragments.
(d) Modifying phrases.

13. What is the rhyme scheme of the first five stanzas of "One Art"?
(a) ABA.
(b) ABB.
(c) AAA.
(d) AAB.

14. In lines 2 and 3, "so many things seem filled with the intent/ to be lost that their loss is no disaster," what is the antecedent of the word "their"?
(a) Intent.
(b) Many.
(c) Things.
(d) Lost.

15. What "Art" does the title refer to?
(a) The art of mastering loss.
(b) The art of maintaining perspective.
(c) The art of maintaining relationships.
(d) The art of disciplining the emotions.

Short Answer Questions

1. How many stanzas does "One Art" have?

2. What is the name of the metrical foot that appears at the end of lines 1 and 3 in most of the stanzas?

3. Which is the best description of the tone of stanza one?

4. What is the format of "One Art"?

5. In line 10, what does the speaker admit to having lost?

(see the answer keys)

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