Nice first stab! Poetry can be a tricky little insect, or can't it? Very specific, yet not so specific type of writing. Ah, I love it anyway. Anyhow, I've always loved poems that were related with nature, so I was already inclined, nevermind me liking the title, of course. I thought the title was very fitting for this piece. But alas, I'll go forth now.

I thought it was great how you used the birth of spring and seasons to symbolize or resemble the life/birth/creation/being of a child. One of my favourite aspects of this piece. And I like how you brought it in spontaneously, but you forshadowed it a bit in the beginning.

And this is where our story begins,

For it was just such a spring that she came,

To this world amidst the grey and scattered sun.

 

Clarisse the beloved daughter of Thomas, 

Hair dark as his, yet piercing eyes of crystal blue,

As though they were her mother’s own.

 

Those eyes would never cry a tear. Forbidden.

But still the memories find joy in grief,

And live deep within her pristine soul.

I adored this part

A lot of the time, with the mood, I felt that a few things were lacking passion. (If I'm understanding correctly, I get that there was some emotional tragedy in your poem, but more on that further down. It all ties in...). For some reason, the mood in the beginning of the poem just seemed to be a bit flat. Not COMPLETELY flat, but flat as in I should've been feeling more than what I felt. Whereas this poem is about spring, and birth, rebirth, excitement, breathtaking beauty, and growth, and blossoming, and seasons (oh my!). And yes, although quite a bit of this does depend on the reader's intonation and personal disposition (and a few other factors) to such things, a lot of the poet's job is to suggest the type of intonation or tone that the poem is to be interpreted in by their choice of certain words, imagery, and flow, etc. (See comments on imagery below). And some words simply have more "spark" and "passion" and "excitement" to them than others - including the word passion itself. I still think there could've been a lot more of this energy in this poem, because while I did get the sense of it in some parts, like in these...

Months of anticipation—is that not spring?

Melting snows, and Earth’s sudden desire

To dress itself in blooming flowers, white.

 

Shrouds of popcorn blossoms on each branch,

Cherry blooming highlights—soft and gentle,

Opening into a world of color.

I generally still felt others were lacking in it. Since your theme (if I'm correct in this) resembles that of a birth of a child, put yourself in that position of a child who is witnessing spring or summer in birth; Really look at it from their perspective. The colors, the air, the sky. Through their eyes, search and look at pictures of spring in the most beautiful places, write outside, listen to related "music for spring" (okay, okay, maybe you don't have to do any of those last things - but it's however much you want to put into your poetry, I suppose). Get that vibe, that energy that people usually associate with spring, along with your very own, and put some of that energy into your words.

So that when you have that emotional climax, realization, or revelation in your poem...

A human machine has been created,

No life within—only a hallow tomb,

Stone in place of blood and tissue.

 

Yet a voice inside her drips red life,

Veins full of poisonous liquid death,

Livid against the desire to mourn.

..it's able to contrast deeply with the passionate or "optimistic" vibe that was suggested at the beginning. So it leaves the reader thinking, and so it can - without you even meaning it to - provide a sort of background for the poem, provoke thought in the reader about the beauty of things like spring, when opposed with darker things like death. And that in itself can encourage several thoughts. See what I'm saying? It's all about playing with the reader's emotions in the end. It's important, in my opinion, in wonderful poems such as these to have that spectrum... and to build up a certain emotion for the reader before turning them onto another, so you have more of that thoughtful contrast.

  Imagery is obviously a very large part of this poem. From the start, I really liked how you used it, some of my favourites being:

Air begets change—sweetening, softening, 

Its gentle touch as the sleeping infant,

Nestled firmly against mother’s warm breast. 

Drops of golden sunshine rain upon Earth,

Drenching it in layers of coppered paint,

Golden and silver fingers rain down.

 

The rhythmic rain purrs on rooftops,

A concert small. Percussion orchestration.

A clang of thunder ringing and shaking.

However, some were not so charming to me and seemed to fit awkwardly with the rest of them. One example:

Each drop a desire. Stirring.

Like tiny bullets off sparking soda,

Tingling. Awaking. Desiring.

(Although this should really go under symbols and metaphors...) I wasn't exactly sure what I thought of this. I understood its meaning, and I like it because it's definitely something different when it comes to imagery, which is good and very refreshing. But at the same time, in my opinion, there was still something better that I think you could've replaced that with. I even felt like you were holding back on your imagery during some points, or that you perhaps weren't sure of how to say some things, so it came out sort of awkwardly. Remember to try and make sure that everything within your poem flows, and (to the best of your ability) that almost nothing - unless intentional to the message - really sounds stressed or awkward. It's not much like a story in the way where, if something awkward comes in, you can explain it later on and it can turn out fine. In a poem you (obviously) have less time or "space" to explain those awkward phrases you happen to have, or you have less time to "compensate", so they tend to stick out much more and can affect the poem as a whole. Here, I'd say it didn't affect the poem as a whole. Of course we all have our own style of writing, some naturally more "awkward" than others, but there is a way to form your style so that it's still poetic, still feels like your own and comes off as that.

 There are a few mistakes as to grammar and spelling mentioned that need to be corrected, just to smooth out the overall flow of the poem. Nothing huge, but since we don't want it to be "a few spoils the bunch" ..

Drops pore down like sheets of sugary glaze,

No life within—only a hallow tomb,

 As I said before, this is a nice first stab at poetry and not at all "bad". There are some mood and imagery improvements needed, but that can all be fixed in the right frame of mind. All I would as for improvement itself is to dive deeper into the meaning of your poem, of the two contrasting themes (again, if I'm being correct on what the themes are), and attempt to make the poem flow more easily together so that it streams a whole, not just specific parts. Overall, pretty nice!