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

2. 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 a person can only lose through "practice" and experience.
(c) Places and names are some of the last things that a person loses.
(d) Places and names are examples of things that can be lost "farther" and "faster."

3. In line 10, what does the speaker admit to having lost?
(a) Their wedding ring.
(b) Their college diploma.
(c) Their child's artwork.
(d) Their mother's watch.

4. What is the format of "One Art"?
(a) Villanelle.
(b) Sonnet.
(c) Sestina.
(d) Ballad.

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

Short Answer Questions

1. 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"?

2. What is the meaning of the word "fluster" in line 4?

3. What does the second stanza suggest the "art" of losing consists of?

4. What is the rhyme scheme of the first five stanzas of "One Art"?

5. In line 7, "Then practice losing farther, losing faster," rhythm is created through which devices?

(see the answer key)

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