Compton, Todd M. 2006. Victim of the Muses: Poet as Scapegoat, Warrior and Hero in Greco-Roman and Indo-European Myth and History. Hellenic Studies Series 11. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Compton.Victim_of_the_Muses.2006.
Chapter 15. Socrates: The New Aesop
Like many of the poets we have studied, Socrates was a soldier on occasion. This would not be especially worthy of note, except that Alcibiades, in the Symposium, used the military theme, Socrates’ heroism in battle, to heroize his master.  Socrates’ soldiering is part of his persona as best of men.
μὴ κρίνειν ἀρετὴν λαοδίκῳ σοφίῃ.
Aesop once said to those living in the city of Corinth
that they should not judge virtue by the wisdom of a jury-court.
Even if this is not authentic, it shows that Socrates is being assimilated to Aesop because of Aesop’s unjust death.
So there will be a moral, rhetorical plague (more, harsher critics) following Socrates’ death. This is to a certain extent a departure from the earlier prophecies. Aesop warns of plague and war, and Homer prophesies a shortage of poets for Cyme, a plague of poetic sterility, as it were, but Plato prophesies more and harsher satirist philosophers, an inversion of the Homeric plague. However, Socrates’ prophecy perhaps by implication predicts a dearth of moderate philosophers and thus continues the Homeric tradition.  Thus this theme shows us three outcomes: the cultic, the literary, and the literary/philosophical. The cultic reality continues in literary trappings; we have a literary cult hero and a literary cult myth. We have the echo of cultic honors to Socrates: not long after his death (“immediately,” euthus), the Athenians feel such remorse that they put Meletus to death and exile other prominent accusers. Then “they honoured [etimēsan] Socrates with a bronze statue [eikoni], the work of Lysippus, which they placed in the hall of procession.”