The choral ode which must have divided this scene from the next is lost.
The dialogue which follows, somewhat abruptly as we now have the play,
is but another version of the well-known “Choice of Hercules” between
Virtue and Vice, by the sophist Prodicus--known probably to the audience
of the day as well as to ourselves. The Two Arguments, the Just and the
Unjust, now appear upon the stage in character; one in the grave dress
of an elder citizen, the other as a young philosopher of the day.[35] It
is very probable that they wore masks which would be recognised by the
audience as caricatures of real persons; it has been suggested, of
Æschylus and Euripides, or of Thrasymachus the sophist, and of
Aristophanes himself. What is certain is, that they represent the old
and new style of training and education: and they set forth the claims
of their respective systems in a long discussion, in which each abuses
the other with the utmost licence of Athenian comedy. Yet there are
passages of great simplicity and beauty here and there, in the speeches
of the worthier claimant. The Unjust Argument, confident in the
popularity of his system and his powers of argument, permits his rival
to set his claims before the audience first. He proceeds to speak of the
days when justice, temperance, and modesty were in fashion; when the
Athenian youth were a hardy and a healthy race, not languid and
effeminate as now; and he calls upon young Pheidippides to choose for
himself the principles and the training which “had made the men of
Marathon:”--
Cast in thy lot, O youth, with me, and choose the better paths--
So shalt thou hate the Forum’s prate, and shun the lazy baths;
Be shamed for what is truly shame, and blush when shame is said,
And rise up from thy seat in hall before the hoary head;
Be duteous to thy parents, to no base act inclined,
But keep fair Honour’s image deep within thine heart enshrined;
And speak no rude irreverent word against the father’s years,
Whose strong hand led thine infant steps, and dried thy
childhood’s tears.
Public-domain text, read in full here on John Shaqi.
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