[2]
ὑπὸ φιλαδελφίας τοῦτο ποιοῦσιν: ἐπεὶ γὰρ
ἔδει ἕνα μὲν τεθνάναι τῶν Λήδας υἱέων, ἕνα δὲ ἀθάνατον
εἶναι, ἐνείμαντο οὕτως αὐτοὶ τὴν ἀθανασίαν.
Ἀπόλλων
οὐ ξυνετήν, ὦ Ἑρμῆ, τὴν νόμην, οἵ γε οὐδὲ
ὄψονται οὕτως ἀλλήλους, ὅπερ ἐπόθουν, οἶμαι, μάλιστα:
πῶς γάρ, ὁ μὲν παρὰ θεοῖς, ὁ δὲ παρὰ τοῖς φθιτοῖς ὤν;
πλὴν ἀλλ᾽ ὥσπερ ἐγὼ μαντεύομαι, ὁ δὲ Ἀσκληπιὸς ἰᾶται,
σὺ δὲ παλαίειν διδάσκεις παιδοτρίβης ἄριστος ὤν,
ἡ δὲ Ἄρτεμις μαιεύεται καὶ τῶν ἄλλων ἕκαστος ἔχει τινὰ
τέχνην ἢ θεοῖς ἢ ἀνθρώποις χρησίμην, οὗτοι δὲ τί ποιήσουσιν
ἡμῖν; ἢ ἀργοὶ εὐωχήσονται τηλικοῦτοι ὄντες;
Ἑρμῆς
οὐδαμῶς, ἀλλὰ προστέτακται αὐτοῖν ὑπηρετεῖν
τῷ Ποσειδῶνι καὶ καθιππεύειν δεῖ τὸ πέλαγος καὶ
ἐάν που ναύτας χειμαζομένους ἴδωσιν, ἐπικαθίσαντας
ἐπὶ τὸ πλοῖον σώζειν τοὺς ἐμπλέοντας.
Ἀπόλλων
ἀγαθήν, ὦ Ἑρμῆ, καὶ σωτήριον λέγεις τὴν τέχνην.
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Luciani Samosatensis Opera, Vol I. Lucian. Karl Jacobitz. in aedibus B. G. Teubneri. Leipzig. 1896. Keyboarding.
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