Hi, @d-pend. This poem made me think hard on several things. First of all
the language. The surprising juxtaposition of elements and images.
Even though the liturgical tone and style, along with syntactical and morphological elements take us back to Shakespearean English (raggèd, agèd, blessèd), there is a modern vitality and spirit, a reversal, or reaction to Elizabethan or even Victorian restrains.
The contrasting

haloed frenzy,
kudzu sentinel
of vigor
o'er the drowsy glades
and grassy alcoves.

or the

vines
to bandage love-shorn garb;
split the aching corset,
free of thorns
the starry breast.

the images, though, provide a contrasting feeling when you think about liberating by embracing/covering or wrapping with this sort of luscious fount or arboreal power. The images are almost suffocating in their intense greenery, even if they lead to elevated freedom :) .

The second aspect that this poem made me consider was the social conventions regarding love, relationships, or rituals, like marriages/weddings. The oppressive garbs, detached from love and true affection or imposed over dreams or aspirations, tolerated, but not accepted. With that same stoicism girls tolerate high hills just because allegedly they look good on them, even if they are bleeding or swelling because of the "dismal dance". All under blessing of "the pale crucifix of force." A yugo (yoke) that sounds almost like a joke for some.
Thus, the text seems to invoke nature to save us from all this unnatural conventions. Quite a ride.

Plus, you made me remember a beautiful bird whose name i had not pronounced since i was a kid: los torditos (thrushes)