Who’s the audience

1.
Peony silks,

in wax-light:

that petal-sheen,

gold or apricot or rose

candled into-

what to call it,

lumina, aurora, aureole?

About gowns,

the Old Masters,

were they ever wrong?

This penitent Magdalen’s

wrapped in a yellow

so voluptuous

she seems to wear

all she’s renounced;

this boy angel

isn’t touching the ground,

but his billow

of yardage refers

not to heaven

but to pleasure’s

textures, the tactile

sheers and voiles

and tulles

which weren’t made

to adorn the soul.

Eternity’s plainly nude;

the naked here and now

longs for a little

dressing up. And though

they seem to prefer

the invisible, every saint

in the gallery

flaunts an improbable

tumble of drapery,

a nearly audible liquidity

(bright brass embroidery,

satin’s violin-sheen)

raveled around the body’s

plain prose; exquisite

(dis?)guises; poetry,

music, clothes.

2.
Nothing needs to be this lavish.

Even the words I’d choose

for these leaves;

intricate, stippled, foxed,

tortoise, mottled, splotched

-jeweled adjectives

for a forest by Fabergé,

all cloisonné and enamel,

a yellow grove golden

in its gleaming couture,

brass buttons

tumbling to the floor.

Who’s it for?

Who’s the audience

for this bravura?

Maybe the world’s

just trompe l’oeil,

appearances laid out

to dazzle the eye;

who could see through this

to any world beyond forms?

Maybe the costume’s

the whole show,

all of revelation

we’ll be offered.

So? Show me what’s not

a world of appearances.

Autumn’s a grand old drag

in torched and tumbled chiffon

striking her weary pose.

Talk about your mellow

fruitfulness! Smoky alto,

thou hast thy music,

too; unforgettable,

those October damasks,

the dazzling kimono

worn, dishabille,

uncountable curtain calls

in these footlights’

dusky, flattering rose.

The world’s made fabulous

by fabulous clothes.
Couture

Mark Doty, 1953

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