https://en.wikipedia.org/wiki/Leucippe_and_Clitophon
Clitophon’s way of narration makes clear that his story is profoundly visual as it is decorated with many digressions that have to do with flora, fauna, and other natural phenomena throughout its course. But these digressions are not mere ornaments; they are important elements connecting Clitophon and his experiences on a visual, mental, and physical level, the rays of reflection between Clitophon’s experience with his external world and his mind. Whether these rays are shimmering brightly or faded, they always impress a clear painting of his whole self; these products of perception and emotion amalgamated undertoning his spiritual inertia and momentum.
Clitophon, in discussion with Satyros in the garden (after Clitophon’s conversation with Kleinias), expresses his feelings of eros catalyzed from meeting Leucippe. In the midst of their conversation, they see a male peacock spreading his feathers, which Clitophon admires, and tells Satyros that the peacock “does this by design” because “he is a lover” (1.16). The peacock’s biological function of spreading his feathers to attract females catches Clitophon’s attention because it resonates with his own biological inclinations; and in this way, they are no different. Satyros entertains Clitophon’s train of thought by asking him if Eros is “so powerful that he makes his fire felt even by the bird” (1.17). Here, Satyros refers to Eros, the Greek god of love and sex; eros personified. Clitophon responds with a correction, saying that since Eros “too, has wings, his influence on them is no surprise — but say rather, ‘even by reptiles and plants,’ and if you ask my opinion, even by the stones” (1.17). Clitophon’s usage of theological ideology, being more metaphorical than opinionated in his speech, is, in this sense quite a direct intuition. Clitophon sees the way of eros, or ‘Eros’, broadly in all things. It is a very interesting concept that at its core, is beyond the control of mortals.
Clitophon continues his idea with a long speech about the different forms of eros in nature, including magnets, plants, water, and animals in his discussion, and after he is finished, looks at “the young lady” in the garden “to see how she reacted to [his] erotic lesson” (1.19). Clitophon is quite indulgent in his speech because he is very proud of how he expresses his nuanced observations of nature and its principles, and in hopes that his speech was found to be impressive, seeks validation from “the young lady”. Not only does this moment indicate that he, like many others, is driven by ego and the desire to impress people, it also shows that he is entertained by his continuous observations of his world, and his perceptions of those observations. In this situation, Clitophon uses his expressive skills partly as a tool to impress, but also because it his natural inclination, a way to connect and interact with others and himself. There are many other digressions about flora and fauna throughout the story, including the one about the garden, before their encounter with the peacock. Though these moments can be referred to as ‘digressions’, they do not deviate from the ‘main story’; rather, they are transitions to Clitophon’s inner world of exploration. Clitophon does not ‘digress’ because he is bored. It is because he feels.
What is a digression? An entity that deviates from some supposed, main ‘thing’? What is that ‘thing’ that is supposed to be a main topic or story? What makes it that? Our expectations? Where do these expectations come from? On a personal level, what is that ‘thing’ that an individual should not deviate from? Stray from? In narrating… speaking… conversing… teaching… learning…… in living?
In her article entitled “Who Reads Ancient Novels?”, Susan A. Stephens discusses the intended audience of ancient texts and ancient high culture, talking about things like the “causal link between wealth and education” (407). Why does this matter to a reader? To be fair, some may find the article to be relevant to their studies or lives, but to one that does not resonate with Stephens’ article at its core, her article in its entirety is a digression from their plane of consciousness.
And it is the awareness of consciousness that makes a mindful observer, one that understands the duality of the internal and external. It is in Clitophon’s nature that he intuitively sees this stream of consciousness, of feelings, stemming from both within and outside of himself, therefore why he feels the need to express. There is a principal hunger within him, a void that requires feeding, and fulfillment from exploration illustrated in his way of expression.
It takes one to know one. In our way of expression, Clitophon and I are of the same. Not superficially, but just broadly, in ‘the way’. Neither of us has a stagnant mind. Within us lies a restless energy that drives us to navigate through the fog that is our mind, our world, and present our path through it; just as I am now, cutting through the torrent of my ocean of thoughts, carving through ‘fog’ to produce writing until I close in, reaching a sea of verity.