Living reasonably is demanded. Faith plays only a subordinate role. Jesus’ death matters little from the religious point of view. Of more interest is the true prophet, guaranteed by the fulfillment of his predictions. According to Irmscher, the basic work Syria, 1st half of the 3rd c., which could not have circulated widely, was first reworked by the homilist, who had both ethical and metaphysical interests. His doctrine of syzygies pairs of opposites in history, leading up to the being of God is the cause of the opposition between Peter and Simon His critical attitude to the OT is obvious. Only the Homilies truly frame the PeterSimon motif in a dualistic structure: the rule of the syzygies, according to which Peter’s action always follows that of Simon, as light succeeds darkness. The Recognitions, on the other hand, propose a doctrine of likeness C´t 263. Simon seeks to pass off his rival Peter as what he himself is: a magician. Using ars dialectica, Peter defends himself as a philosopher. This is a rationalization of the antagonistic relation between magic and miracle, between good and evil C´t 264. Peter, the leading disciple, and Simon, the leading heretic, clash, and carry out their argument as would the philosophers of the imperial era, around the accusation of magic C´t 265. The two figures propose two opposite types of relation with Greek culture: Simon the Samaritan is the Hellenized barbarian C´t 270-271; Peter the Jew is the barbarian who resists Hellenization; rejects the claims of myth, magic and philosophy; performs miracles invoking the one God; and defends the thesis of prophetic truth. The claims of philosophy are rejected so as to preserve its methods, while the methods of magic are rejected so as to imitate its efficacy C´t 272. The Clementine corpus constitutes one of the most reliable documents for reconstructing the history of the relations between Hellenism and Jewish Christianity and for the study of cases of indirect Hellenization, such as that which presents the Clementine use of literary forms and themes, drawn from romance and from philosophy C´t, 272.