We know from the context of the poem that a tarrock has white wings like a gull, and seeks food. The choughs and daws make a "clamor" not unlike the one made by dogs (therefore they cannot be dogs). The only answer that makes sense if all three belong to the same category is that they are all birds.

Passage adapted from Charlotte Smith's "Beach Head" (1807)

The strand is the beach, where the poet is writing his lover’s name in the sand.
Lines 2 and 4 tell us that waves are rolling and in receding, washing away what he has written. The poet's writing in the sand will stand in contrast to his poems written on paper, which (he argues correctly) will immortalize his beloved.

Passage adapted from Edmund Spenser's "Sonnet 75" (1594)

“Eke” means “also”. If you don't happen to be familiar with this word, you can home in on the correct answer by plugging the other answer choices into the sentence. The beloved is saying that it's hopeless for the poet to write her name in the sand and expect it to stay there, because her written name is mortal, just as she is herself, and her own being and identity will eventually be wiped out by time just as her name has been erased by the waves.

"For I myself shall like to this decay,
And eek my name be wiped out likewise."

In other words, "I myself will disappear exactly like writing in the sand, and [eek] my name will be forgotten in the same way." The only answer choice that makes sense in the context is "also".

Passage adapted from Edmund Spenser's "Sonnet 75" (1594)

The beloved emphasizes the word “vain” by using it twice: “Vain man, said she, that doest in vain assay . . .” She’s saying that the poet himself is vain (“vain man”), and also that his attempts are vain (“that doest in vain assay . . . .”) This is a familiar type of Elizabethan wordplay that uses one word to express two meanings. The poet is vain because he’s overconfident: he keeps writing her name in the sand, despite the fact that the waves will always have the power to wash his efforts away. The writing itself is “in vain” — i.e., ineffectual — because it never lasts for more than a few seconds. She says nothing to suggest that she thinks the poet is arrogant.

Passage adapted from Edmund Spenser's "Sonnet 75" (1594)

The author uses the word “temple” to mean “the side of the forehead.” Though the first two lines describe old age, the specific images (hollow cheeks and temples, maybe loss of hair) refer to parts of the body that reveal aging. This is reinforced by the parallel between “temple” and “cheek.”

Passage adapted from Eleanor Wylie's "A Madman's Song" (1921)

“Hallo” suggests the repetitive cries of human hunters as well as the baying of the hounds. In this context, it is an example of onomatopoesis. (The “view hallo” is the traditional call of the hunter who has spotted a fox.)

Passage adapted from Eleanor Wylie's "A Madman's Song" (1921)