The last stanza is again enjambed to signify the rush of emotion the soon-to-be wife is feeling: ‘the battered tan case full of cotton/ lace and tissue-paper, pressing down, then/ pressing down again. And then, locks.’ The case is old and battered, but it still functions. It may represent the institution of marriage itself. The case is full, perhaps with her honeymoon clothes, but more likely with her wedding dress. The verb ‘pressing’ is comes to a sudden end with the harsh-sounding verb ‘locks’. This abrupt ending makes us pause and ponder what the poet means. Does she feel trapped by her impending marriage? Is she glad that she will soon be making her vows to the man she loves? The tone of ambiguity is deliberate. Boland is trying to convey the tumultuous emotions that she is feeling at the prospect of making such an enormous commitment to another person. This is a very honest exploration of love and marriage through the ages.