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

Multiple Choice Questions

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

2. What is the verb mood of line 4, "Lose something every day"?
(a) Interrogative.
(b) Imperative.
(c) Subjunctive.
(d) Indicative.

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

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

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

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

7. Lines 4 and 6, ending in the words "fluster" and "master," exhibit what type of rhyme?
(a) Slant rhyme.
(b) Eye rhyme.
(c) Internal rhyme.
(d) Perfect rhyme.

8. 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) Simile.
(c) Imagery.
(d) Hyperbole.

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

10. What does the second stanza suggest the "art" of losing consists of?
(a) Grieving loss.
(b) Accepting loss.
(c) Ignoring loss.
(d) Conquering loss.

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

12. In the first stanza, what does the speaker suggest makes the loss of some things especially easy to accept?
(a) They are part of a distant past.
(b) They seem to want to get lost.
(c) They are small and insignificant.
(d) They are difficult to live with.

13. Which is a reasonable statement of how the punctuation and syntax of the final stanza affect the stanza's tone?
(a) They slow its pace and create a sense of uncertainty.
(b) They create a choppy sound that indicates anger.
(c) They create a rolling rhythm that invokes the light, carefree tone of a nursery rhyme.
(d) They accelerate the pace as the stanza unfolds, creating a sense of urgency.

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

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

Short Answer Questions

1. How many refrains does "One Art" contain?

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. 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?

4. What kind of metrical foot is the most frequent in "One Art"?

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

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