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S.4 Poetry

Practice exam-style IB English A (Lit) questions for Poetry, aligned with the syllabus and grouped by topic.

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Question 1
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from At Home by Christina Rossetti (1862), a dead speaker returns to a familiar house and observes friends feasting and discussing their future.

How does the writer use imagery and figurative language to convey the speaker's exclusion from the life of the friends?

A

Identify three sensory details in the first stanza and briefly how each presents the friends' enjoyment. Quote the relevant words.

[3]
B

Identify three details in the friends' speeches in the second stanza that suggest how they view their future. Quote each detail and briefly its significance.

[3]
C

Identify three verbal contrasts in the third stanza that separate from the friends. Quote the contrasting words and briefly each .

[3]
D

how Rossetti combines reported speech and repetition in the second and third stanzas to make the friends' conversation an experience of exclusion for .

[6]
E

how the images of “blessed noon” and 's shivering in lines 21–28 work together to unequal experiences of the same gathering.

[6]
F

on how the movement, syntax and final simile in lines 28–32 shape the effect of 's departure.

[6]
G

does the presentation of the friends in the first three stanzas encourage the reader to blame them for 's exclusion?

[9]
H

how the images of the house, feast and tablecloth across transform familiar signs of hospitality into evidence of the speaker's inability to belong.

[9]
I

how effectively the final stanza reinterprets the speaker's return at the beginning of , particularly through its imagery of presence and remembrance.

[9]
Question 2
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Bring me the sunset in a cup by Emily Dickinson (1891), the speaker requests explanations of natural wonders before questioning the confinement of the spirit.

How does the writer use the speaker's changing tone and perspective to the limits of human understanding?

A

Identify three expressions in the first stanza that make sound demanding or confident. Quote each expression and briefly its effect.

[3]
B

Identify three details in the second stanza that give nature human qualities. Quote each detail and briefly the impression it creates.

[3]
C

Identify three images of making or arranging in the third stanza. Quote each image and briefly how it presents the natural world.

[3]
D

how the first stanza combines a commanding voice with impossible requests to complicate 's apparent confidence.

[6]
E

how the sequence of questions in the third stanza shifts attention from natural phenomena to an unidentified power behind them.

[6]
F

on how the images and diction in the final stanza change the emotional stakes of 's questions.

[6]
G

does the speaker retain authority as moves from “Bring me” in the first stanza to “Who 'll let me out” in the last?

[9]
H

the importance of 's playful language, from the bee's “debauchee” behaviour to “Passing pomposity”, in shaping the reader's response to its serious questions.

[9]
I

how the movement from cups and counting in the opening two stanzas to enclosure and flight in the final stanza changes the meaning of 's search for understanding.

[9]
Question 3
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Song of the Open Road by Walt Whitman (1856), the speaker urges an unidentified addressee to leave confinement and exposes suffering concealed beneath ordinary social appearances.

How does the writer use structural patterns to expose the distance between outward appearance and inward experience?

A

Identify three features of 's address in the opening passage, from “Allons! whoever you are!” to “I know all, and expose it.” Quote each feature and briefly its effect.

[3]
B

Identify three details of outward appearance in from “Through the laughter” to “hell under the skull-bones”. Quote each detail and briefly what impression it presents to others.

[3]
C

Identify three expressions that characterize the concealed self in from “Another self” to the end. Quote each expression and briefly its significance.

[3]
D

how repetition and parallel phrasing in from “Behold, through you” to “trusted to hear the confession” break down assumptions about sociability and intimacy.

[6]
E

the effect of the extended catalogue of places in from “Formless and wordless” to “everywhere”.

[6]
F

on how the parallel structures in the final four verse units, beginning “Smartly attired” and ending “never of itself”, bring the exposure of hidden suffering to a climax.

[6]
G

does the movement from the opening summons to the exposure of private suffering make 's address liberating rather than coercive?

[9]
H

how the accumulation of relationships, locations and outward details across supports—and potentially complicates—the claim that concealed suffering is universal.

[9]
I

how effectively 's expansive catalogues and repeated phrases give expression to the self described as “Formless and wordless”, particularly in the closing passage.

[9]
Question 4
SL+HL • Paper 2S
Hard
SL+HL • Paper 2S
Hard

In from Renunciation by Emily Dickinson (1890), the speaker recalls a shared encounter, the lovers' separation and their pledge of future reunion.

How does the writer use sound, rhythm and rhyme to love as both a sacred bond and an experience of loss?

A

Identify three features of sound or rhythm in the first two stanzas and briefly what each contributes to the presentation of the special day. Quote the relevant words.

[3]
B

Identify three features of sound, rhythm or pause in the third stanza, beginning “The time was scarce profaned by speech”, and briefly how each suits its presentation of communication. Quote the relevant words.

[3]
C

Identify three features of sound or rhythm in the fifth stanza, beginning “The hours slid fast”, and briefly how each contributes to the experience of passing time and separation. Quote the relevant words.

[3]
D

how repeated phrasing and changes in line length in the fourth stanza, beginning “Each was to each”, shape the presentation of the lovers' private communion.

[6]
E

how cadence, pauses and rhyme in the sixth stanza, beginning “And so, when all the time had failed”, make a silent parting resemble a ceremony.

[6]
F

on how the dashes, verbal sounds and final exclamation in the last stanza affect the apparent assurance of the promised reunion.

[6]
G

does 's hymn-like sound offer reassurance, given the rhythmic variations and imperfect rhymes in the later stanzas?

[9]
H

how makes restrained or absent speech emotionally expressive through sound and rhythm, referring particularly to the third, fourth and sixth stanzas.

[9]
I

how the sound and rhythmic movement of the final three stanzas shape the transition from separation to the promise of a “new marriage”.

[9]

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