Poem Analysis - Of Brussels It Was Not

A Tapestry Woven by Nature

Emily Dickinson's "Of Brussels it Was Not" is a delicate and evocative poem that celebrates the simple beauty of nature's artistry. It begins with a sense of mystery, questioning the origin of a precious textile, before revealing that the "fabric" is in fact a natural creation. The poem unfolds with a gentle and appreciative tone, revealing the beauty of nature's unadorned artistry, highlighting the accessibility and generosity of the natural world.

The Economics of Nature

The poem's opening lines immediately establish a contrast. The speaker dismisses expensive, man-made fabrics – "Brussels" and "Kidderminster" – suggesting a preference for something more authentic and accessible. This contrast subtly critiques materialistic values, implying that true beauty and value are not found in commercial goods but in the gifts of nature. The idea that "the poorest could afford" this natural tapestry emphasizes its democratic and abundant nature, readily available to all, regardless of wealth. The inclusion of "Beggar or of Bird" broadens this accessibility to all of Earth's creatures, implying that this beauty is shared.

Nature's Tapestry and the Theme of Creation

One of the central themes is the transformative power of nature. The poem illustrates how the "Winds" act as both purchaser and seller, taking raw materials ("Woods") and crafting something beautiful. This image suggests a cyclical process of creation and renewal within nature. The descriptions of "small and spicy Yards" and the "mellow Dun" hue conjure a vivid picture of autumnal foliage, implying that this "fabric" is the landscape itself. The fact that it is "Of Sunshine and of Sere Composed / But, principally of Sun" points to the importance of light and warmth in creating and sustaining this beauty, and a reminder of both vitality and decay in the natural world.

Symbolism of the Wind

The "Wind" is a recurring and potent symbol. It is not merely a force of nature, but an active agent, an "Upholsterer" responsible for arranging and presenting nature's beauty. The wind's role in "unrolling" and "spreading" the landscape suggests a deliberate act of display, as if nature is intentionally showcasing its splendor. The phrase "Upholsterer of the Pines is He / Upholsterer of the Pond" elevates the wind to the status of an artist, carefully adorning even the smallest and simplest aspects of the natural world. Is the "He" an allusion to a creator, imbuing the wind with divine or artistic purpose, or is the personification solely to illustrate the intentionality of nature's artistry?

A Poetic Conclusion

In conclusion, "Of Brussels it Was Not" is a celebration of the natural world and its accessible beauty. Dickinson contrasts this free, abundant beauty with the artifice of human-made goods, suggesting that the true treasures lie in the simple gifts of nature. The poem transforms the everyday landscape into a precious tapestry, woven by the winds and available to all, prompting us to appreciate the artistry and generosity of the natural world around us.