When Thrasymachus has been silenced, the two principal respondents, Glaucon and Adeimantus, appear on the scene: here, as in Greek tragedy, three actors are introduced. At first sight the two sons of Ariston may seem to wear a family likeness, like the two friends Simmias and Cebes in the Phaedo. But on a nearer examination of them the similarity vanishes, and they are seen to be distinct characters. Glaucon is the impetuous youth who can "just never have enough of fechting" (cf. the character of him in Xen. Mem. iii. 6); the man of pleasure who is acquainted with the mysteries of love; the "juvenis qui gaudet canibus," and who improves the breed of animals; the lover of art and music who has all the experiences of youthful life. He is full of quickness and penetration, piercing easily below the clumsy platitudes of Thrasymachus to the real difficulty; he turns out to the light the seamy side of human life, and yet does not lose faith in the just and true. It is Glaucon who seizes what may be termed the ludicrous relation of the philosopher to the world, to whom a state of simplicity is "a city of pigs," who is always prepared with a jest when the argument offers him an opportunity, and who is ever ready to second the humor of Socrates and to appreciate the ridiculous, whether in the connoisseurs of music, or in the lovers of theatricals, or in the fantastic behavior of the citizens of democracy. His weaknesses are several times alluded to by Socrates, who, however, will not allow him to be attacked by his brother Adeimantus. He is a soldier, and, like Adeimantus, has been distinguished at the battle of Megara.