Types of Closure in Poetry, Part 2: Ending a Poem with a Resonant Image

For me, one of the most effective ways to achieve closure in a poem is to end with a resonant image.

The temptation when you are ending a poem is to try to tie up every loose end. You want to tell the reader exactly what it is that you’re trying to say, what you’ve been building up to for the entire poem. That strategy is very likely to put the reader off. No one likes being lectured to, least of all fans of poetry. The chances are, if you have written the entire poem with a particular emotion or idea in mind, the reader has gotten the message by the time the poem is almost done.

One way to end a poem that doesn’t hit the reader over the head, but reinforces and/or expands on what the poem has explored, is to finish with an image that lingers in the reader’s thoughts and echoes other elements in the poem. Ending with a particularly vivid and haunting image changes the tone so that the poem has closure at the end.

The best way to explain this is to give an example. The classic instance of this is John Keats’s sonnet, “On First Looking into Chapman’s Homer”:

Much have I travell’d in the realms of gold,

And many goodly states and kingdoms seen;

Round many western islands have I been

Which bards in fealty to Apollo hold.

Oft of one wide expanse had I been told

That deep-brow’d Homer ruled as his demesne;

Yet did I never breathe its pure serene

Till I heard Chapman speak out loud and bold:

Then felt I like some watcher of the skies

When a new planet swims into his ken;

Or like stout Cortez when with eagle eyes

He star’d at the Pacific—and all his men

Look’d at each other with a wild surmise—

Silent, upon a peak in Darien.

Basically, the speaker of this poem is saying that he’s read a lot about Homer’s Greece, but he never really got it till he read George Chapman’s translation of The Odyssey. Now he understands the beauty and majesty of Homer’s poetry and the world he describes.

John Keats

But instead of saying that flat out, in the poem’s sestet, or final six lines, Keats gives us two seemingly unrelated images. The first is an astronomer discovering a new planet when it “swims” into view (you gotta love that verb, “swim”!). The second is the Spanish conquistador Hernán Cortés, leading an exploratory party to a cliff in Panama, where for the first time, Europeans gazed on the world’s largest ocean, the Pacific, from the Americas.

More than any didactic conclusion, these two images give a sense of the incredible wonder that Keats felt when he read Chapman’s translation of Homer. That last image, of the ocean that was undreamed of by Cortés and his men, just rolls on and on in the mind, like a long chord, as vast and inspiring as the Pacific.

What provides the closure here is that we have switched from Homer to another realm, but one that vibrates with Keats’s feelings about discovering Chapman’s version of The Odyssey. The poem has shifted, but is still in the mode of awe, in fact, deeper in that mode because of the resonant image, so much more expansive than someone sitting in a library reading a translation from ancient Greek, but reflecting on how amazing that experience can actually be.

One contemporary poet who has mastered the art of ending on a resonant image is Joseph Millar. Millar has a way of finding a final image that engages the reader, brings together threads in the poem, but opens the door to deeper emotion or contemplation. 

Joseph Millar

In his poem “Labor Day,” for instance, Millar describes all the ways that labor is not being done on that holiday. The speaker is celebrating all those who have earned a day off because of their hard work. Instead of winding up with this theme, though, he ends with a cinematic image that encapsulates and expands the poem’s ideas and emotions:

the tuna boats rest on their tie-up lines

turning a little, this way and that.

This last image is a symbol of Labor Day itself, with the boats docked and not in use (and you know tuna boats see some serious fishing!). But that image also lets in another range of ideas and emotions, because of the restlessness of the boats in the water. This motion might suggest that Labor Day may be a time of repose, but it also highlights unresolved issues about those who work with their hands, and those who manage or profit from their labor.

Types of Closure in Poetry, Part 1, Part 3, Part 4

Zack’s most recent book of poems, Irreverent Litanies
Zack’s most recent translation, Bérénice 1934–44: An Actress in Occupied Paris by Isabelle Stibbe

How to Get Published
Getting the Most from Your Writing Workshop
How Not to Become a Literary Dropout
Putting Together a Book Manuscript
Working with a Writing Mentor
How to Deliver Your Message
Does the Muse Have a Cell Phone?
Why Write Poetry? 
Poetic Forms: Introduction; The Sonnet, The Sestina, The Ghazal, The Tanka, The Villanelle
Praise and Lament
How to Be an American Writer
Writers and Collaboration
Types of Closure in Poetry

Types of Closure in Poetry, Part 1: Introduction

When I was starting out as a young poet, I kept hearing other writers talk about “closure.” I couldn’t image what this odd word meant. It sounded like getting your hand caught in a door. A poem ends when it ends, right? Why does there even need to be a name or a word for that?

The more I’ve written and the more I’ve read, the more I realize that closure is a crucial part of a poem.

Elizabethan poet Sir Thomas Wyatt was one of the first to use rhymed couplets to close a sonnet

But what is closure? Here’s one possible definition:

Closure is the way that a poem completes itself, or the way a poem fills out its shape. Closure is the way that the poet and reader both understand that the poem is winding down, or reaching back into the world.

There are three main types of closure in poetry, and I’ll discuss each one in this series of blogs. The three main techniques that poets use to end poems:

1) A resonant image
2) Repetition or a rhythmic change
3) The killer last line

Of course, very few endings are purely one or the other type. There are many variations and combinations of these types.

I think all these ways of ending a poem have one thing in common: at the conclusion of a poem, something changes from the way the poem has progressed prior to the finale. That change can be in the structure of the poem, the mood, the awareness of the speaker and/or reader, the imagery, the subject matter, the sounds of the language, or the point of view. In other words, almost any aspect of the poem or combination of facets can create closure, providing that the poem changes in some significant and palpable way toward the end.

Here are the sections of this blog that deal with the different types of closure:

Resonant image
Repetition or rhythmic change
The killer ending

Zack’s most recent book of poems, Irreverent Litanies
Zack’s most recent translation, Bérénice 1934–44: An Actress in Occupied Paris by Isabelle Stibbe

How to Get Published
Getting the Most from Your Writing Workshop
How Not to Become a Literary Dropout
Putting Together a Book Manuscript
Working with a Writing Mentor
How to Deliver Your Message
Does the Muse Have a Cell Phone?
Why Write Poetry? 
Poetic Forms: Introduction; The Sonnet, The Sestina, The Ghazal, The Tanka, The Villanelle
Praise and Lament
How to Be an American Writer
Writers and Collaboration
Types of Closure in Poetry