sapere aude
Lehua Johnson
The Patridge
Living statue, bronze of the Gods! Do not let love’s loss be your demise.
Listen to the winds of your lover’s home,
and let the singing carry you.
In Ephyra’s Polis of reaping and stone, my statue was made
in living bronze. From the likeness of Hera it was cast,
and so I was born Antheia of Kórinthos.
No childhood is wrought in iron, nor tenderness
of the flesh. I am a mirror to man’s image,
a servant to my home.
I saw you at last harvest, Oracle, letting barley
kiss your legs before they were cut.
Your gentleness moved me.
My clumsy hands, vita ex machina, wove fresh wool
in attempts to gain your attention. Aphrodite
blessed me with success, and doomed me
with the attention of another man, a city general fresh from war.
I could not smell difference in his bloodied aegis
and my own rust.
And so I look to you, dear Oracle, you with
faith in shreds, heel-stricken and lost
to the tides of Aegean love.
You called to me in a voice as sweet and desperate as
the cry of Phoebus Apollo, watching his dear
Hyacinth dying.
O, lover of vineyards, blessing of my heart,
this was not your decision to make,
but mine.
I am not bound to blood and rust, nor the cries
of Man-Slaughtering Ares. Your weeping
I shall follow.
Give me your blessing, dear Gods! May Pallas Athena grant me
the owl’s sight, that I not be lost
to the endless wood.
Yet sight I do not need. The soft coo of the partridge
draws me to the West. In darkness I find you,
Oracle, my love.
Lehua Johnson is a creative writing student in her last few months of schooling. She finds that it’s impossible to stop writing when you write about anything and everything.
about the author
“The Oracle” and “The Partridge” are partnered pieces meant to emulate the tone of Sappho. As destinations, they stand as an attempt to show the gender politics of ancient Greece, its mythos, and how sexuality was viewed at the time.