Simile is the correct literary device. This type of simile is called a "submerged simile" oftentimes, because it does not contain the words "like" or "as" as you would normally expect to accompany a simile. The writer uses the submerged simile to compare "the maid" to a bird that discovers its nest to be empty.

(Adapted from the R. C. Jebb translation of Antigone by Sophocles 462-469, Fifth century BCE)

This excerpt contains multiple metaphors: it compares a heart breaking to iron breaking and to wild horses being tamed.

(Adapted from the R. C. Jebb translation of Antigone by Sophocles 520-525, Fifth century BCE)

The writer compares life to a shadow that struts. This is a metaphor because it compares life to a shadow but doesn't use 'like' or 'as' (like a simile would).

(Passage adapted from Shakespeare's Macbeth, V.iv.23-28)

In lines 6-8 we have a literary allusion or reference to Penelope, Saba, and Lucifer, all characters from other works of literature. Apostrophe is a direct address to the reader (e.g. Herman Melville’s “Call me Ishmael”). Consonance is the repetition of consonant sounds (e.g. “a bitter debtor”). Colloquialism is the use of an informal, conversational, or regional bit of speech (e.g. “y’all” for “you all”). Ellipsis is the deliberate omission of one or more words for the purpose of concision.

Passage adapted from Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus (1592)

Here we have parallelism, the use of clauses with identical grammatical patterns, syntax, or meter (usually undertaken for emphasis or to achieve a pleasing sound). Synecdoche is a specific type of metonymy in which the real word for something is replaced by a word for a part of that thing (e.g. someone saying they need a “hand” when they really need the entire person’s help). Hyperbole is the use of extreme exaggeration (e.g. “this suitcase weighs a ton”). Litotes, on the other hand, is the deliberate use of understatement or double negatives. Epistles are letters, and epistolary is an adjective that describes the use of letters as a storytelling device in a larger narrative.

Passage adapted from Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus (1592)

The answer choices here are largely similar. “Marriage is but a ceremonial toy” is a metaphor, a comparison that does not employ “like” or “as.” Don’t mistake this for a simile, a comparison using “like” or “as” (e.g. “the still pond is like a looking glass”). An allegory is an extended metaphor (e.g. a metaphor that takes up the entire passage), as is a conceit. Paradoxes are contradictory statements, something that seems impossible (e.g. Odysseus’ “I am no man” in The Odyssey).

Passage adapted from Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus (1592)

With the repetition of “and,” we can tell that this is polysyndeton, the excessive use of conjunctions. (It could also be considered anaphora, repetition of the beginnings of subsequent clauses). It is not epanalepsis (chiasmus), oxymoron (contradictory term), or redundancy. It is also not prolepsis (flash forward).

Passage adapted from Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus (1604)

In these lines we have an example of the relatively rare chiasmus: the use of a crisscross or reverse structure in a sentence or paragraph. Enjambment is a poetic technique in which the meaning and syntax of one line are carried over and finished in the next line (e.g. Robert Frost’s “And there's a barrel that I didn't fill / Beside it”). Imagery is language that calls upon vivid sensory descriptions (e.g. Gerard Manley Hopkins “a candycoloured… a gluegold-brown / Marbled river, boisterously beautiful”). Onomatopoeia is the use of a word that mimics the sound of the thing it is describing (e.g. “pop” or “buzz”).

Passage adapted from Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus (1604)

The repetition of the beginning of each clause (“We few, we happy few, we band of brothers”) is an example of anaphora. Antimetabole, similar to chiasmus, is the repetition and transposition of words (e.g. Dr. Seuss’s “I meant what I said and I said what I meant”). Ellipsis is the deliberate omission of one or more words for the purpose of concision, while polysyndeton is the excessive use of conjunctions. Aposiopesis is the sudden, deliberate breaking-off of a line of writing or speech for deliberate effect (e.g. “When your father gets home…”).

Passage adapted from William Shakespeare’s Henry V (1600)

In line 4, the speaker describes his audience as his “brothers.” Lines 5-7 then expand upon that thought, clarifying how this group of unrelated soldiers could be brothers: “For he today that sheds his blood with me / Shall be my brother; be he ne'er so vile, / This day shall gentle his condition.” Thus, even though the lines don’t appear in parentheses, they can be considered a parenthetical remark.

Passage adapted from William Shakespeare’s Henry V (1600)