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

Multiple Choice Questions

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

2. 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) Many.
(b) Lost.
(c) Things.
(d) Intent.

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

4. 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 a person can only lose through "practice" and experience.
(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 more upsetting to lose than small objects and small amounts of time.

5. Which word in lines 10 and 11, "And look! my last,/ or next-to-last, of three loved houses went," creates a momentary shift in verb mood?
(a) The word "loved."
(b) The word "next."
(c) The word "went."
(d) The word "look."

6. 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.

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

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

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

10. What is the name of the metrical foot that appears at the end of lines 1 and 3 in most of the stanzas?
(a) Tribrach.
(b) Amphibrach.
(c) Dactyl.
(d) Anapest.

11. What technique is employed in line 16, "Even losing you"?
(a) Apostrophe.
(b) Sarcasm.
(c) Dramatic irony.
(d) Understatement.

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

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

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

15. How many stanzas does "One Art" have?
(a) 6.
(b) 9.
(c) 7.
(d) 8.

Short Answer Questions

1. In the first stanza, what does the speaker suggest makes the loss of some things especially easy to accept?

2. 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"?

3. Who is the author of "One Art"?

4. How many lines does "One Art" have?

5. Lines 4 and 6, ending in the words "fluster" and "master," exhibit what type of rhyme?

(see the answer keys)

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