The term double entendre is derived from French and means, literally, "heard twice." It refers to a play on words that can be heard as having two meanings--usually one of which is sexual. "Country pleasures" refers to both a simpler, more naive pastoral life, but it's also a play on a euphemism for the female anatomy that was commonly used at the time. 

Passage adapted from John Donne's "The Good Morrow" (1633).

In addition to having a parallel structure of "preposition adjective noun," "without sharp north, without declining west" underscores that parallelism with the repetition of "without" and the fact that both nouns are cardinal directions. 

It might be tempting to choose “Let maps to other, worlds on worlds have shown,/ Let us possess one world, each hath one, and is one," for the repetition of the imperative "let." These sentences do not, however, have parallel syntactical structures. 

Passage adapted from John Donne's "The Good Morrow" (1633).

"Slacken" may refer to flaccidity, and "die" was a common literary euphemism for female orgasm in the Early Modern Period.

Passage adapted from John Donne's "The Good Morrow" (1633).

Apostrophe is used throughout the poem. Apostrophe is when the speaker in a literary work addresses, or speaks directly to, something or someone who cannot hear it. This addressee can be an inanimate object (as in this poem, where the speaker addresses a Greek urn), an abstract idea, or an absent person.  

Examples of apostrophe being used in this poem include but are not limited to uses of "Thou" in lines 1, 2, and 47, and "O Attic shape!" (line 41).

Passage adapted from John Keats' "Ode on a Grecian Urn" (1819)

The words at the ends of lines 32 and 34--"priest" and "drest," respectively--are an example of a slant rhyme. A slant rhyme consists of two words that sound very similar, but do not actually end in identical sounds.  Here, the consonants in these last syllables match. In both cases, the consonant preceding final the vowel is an "r" and the ending consonant sound is "st." The vowels, however, while similar, are not identical: "priest" has a long "e" sound, but "drest" has a short "e" sound.  

Since the sounds of the final words are similar but do not quite match, this is a slant rhyme.

Passage adapted from John Keats' "Ode on a Grecian Urn" (1819)

The meter of this poem is iambic pentameter.  The "meter" of a poem refers to the rhythm and quantity of syllables in each line.  

"Pentameter" means that there are five metrical "feet" in each line.  A metrical "foot" is a metrical unit of which any given meter is comprised.  "Iambic" refers to the fact that most of the metrical feet in this poem are iambs.  An iamb is a very common foot in English.  It is comprised of one unstressed syllable followed by one stressed syllable.  

Here is the first line of the poem divided into its five metrical feet:  "Thou still / unrav / ish'd bride / of qui / etness."  Each of those five segments consists of an unstressed syllable followed by a stressed syllable--that is, an iamb.

Passage adapted from John Keats' "Ode on a Grecian Urn" (1819)

In poetry, anaphora refers to a specific type of repetition.  It is the repetition of the same word or group of words at the beginning of two or more sentences in a row.  In lines 8-10, six sentences in a row start with "What."  This is a perfect example of anaphora.

Passage adapted from John Keats' "Ode on a Grecian Urn" (1819)

The volta is a turn or shift in sonnet. In this case, Hopkins turns from self-examination and begins to make more broad generalizations about "the lost." 

While this could also be described as a rhetorical shift, the fact that this is a sonnet makes volta a more precise, more accurate term. 

Passage adapted from "[I wake and feel the fell of dark, not day]" (1918) by Gerald Manley Hopkins. 

A portmanteau is the blending or combining of two separate words to from a new, invented word. (For example "Bennifer" for Ben Affleck and Jennifer(s) Lopez and, later, Garner.) 

An elision might seem like a tempting answer since it means an omission of some kind, usually of a vowel. In this case, though, the important thing is not the omission of the space, but the combination of the words to form a new idea. The other two answers are made-up words. 

Passage adapted from "[I wake and feel the fell of dark, not day]" (1918) by Gerald Manley Hopkins.

The first line of the third stanza contains a strong example of alliteration in the repetition of the initial consonant sounds in cobbles, clattered, and clashed. Although the line does invoke the image of the highwayman entering the dark inn-year, it is not a strong image, and the line focuses much more on invoking the sound of him entering the yard, hence the repetition of the hard c, which sounds a bit like horse hooves. The line contains no examples of irony, personification, or foreshadowing.

Passage adapted from Alfred Noyes' "The Highwayman" (1906)