 to the particular dialogue as she extends  Lucian, "The Downward Journey" in: Lucian, Vol. II, pp. 16– 19.  Lucian's so-titled "Dialogues of the Dead" are short dialogues which Hume may well have been reading in addition to the above noted Kataplous, which are editorial compilations and arrangements bound together in the new Loeb edition, following Harmon's earlier version, with similar short forms under the titles "Dialogues of the Sea Gods," "Dialogues of the Gods," and, apparently, to round things out: "Dialogues of the Courtesans." Lucian Volume VII. See for a recent discussion attesting to the challenges of just these dialogues (formal and otherwise), Rafael Guimarães Tavares da Silva, "The Laughter Within the Dialogues of the Dead."  Baier, Death and Character, p. 104. Signatures and Taste: Hume's Mortal Leavings and Lucian 11 the claim.31 Nor indeed can the matter be settled as already detailed above simply by noting as Baier does "that the excuses are offered to Mercury rather than Charon" as, of course the excuses are offered in dialogue itself mediatedly, i.e., to "good lady Clotho."32 One of the advantages of classically hermeneutic philosophy informed no less by Gadamer than by Nietzsche33 is the recognition of the role played by Hermes/Mercury as go-between among gods and humans. At the end of the day, only Charon will matter when it comes to that journey. Hence it is just as relevant, as this too informs Smith's reflection and not less Hume's own irony, that when it comes to religion Lucian's Kataplous is less a dialogue about the famous man Megapenthes than it is a dialogue about the 'good man,' good inasmuch as he is conscious of and at terms with his mortality. This is Mycillus, the shoemaker who, like Hume, having no attachments had no reasons for wishing to remain and no illusions about excuses that might spare him and thus comes running, literally so – no hesitation at all. At the outset of the dialogue we meet Mycillus identified not by name but as laughing and protesting to Clotho at having to be made to wait to board, by contrast with the others who seek any
to the particular dialogue as she extends  Lucian, " The Downward Journey " in: Lucian, Vol. II, pp. 16 – 19.  Lucian's so - entitle " dialogue of the Dead " are short dialogues which Hume may well have been reading in summation to the above noted Kataplous, which are editorial compilations and placement bind together in the fresh Loeb edition, following Harmon's early version, with similar unretentive form under the titles " Dialogues of the Sea Gods, " " Dialogues of the Gods, " and, apparently, to round thing out: " Dialogues of the Courtesans. " Lucian Volume VII. See for a recent discussion attest to the challenges of just these dialogues (formal and differently), Rafael Guimarães Tavares da Silva, " The Laughter Within the Dialogues of the Dead. "  Baier, Death and Character, p. 104. Signatures and Taste: Hume's Mortal Leavings and Lucian 11 the claim.31 Nor indeed can the topic be settled as already detailed above simply by noting as Baier perform " that the excuses are offered to Mercury rather than Charon " as, of course the excuses are offer in dialogue itself mediatedly, i.e., to " good lady Clotho. "32 One of the advantages of classically hermeneutic philosophy informed no less by Gadamer than by Nietzsche33 is the recognition of the role played by Hermes / Mercury as go - between among god and humans. At the end of the sidereal day, merely Charon will count when it comes to that journey. Hence it is just as relevant, as this too informs Smith's reflection and not less Hume's own irony, that when it come to religion Lucian's Kataplous is less a dialogue about the famous man Megapenthes than it is a dialogue about the' dependable man,' good inasmuch as he is conscious of and at terms with his mortality. This is Mycillus, the cobbler who, like Hume, having no attachment have no reasons for wishing to remain and no delusion about excuses that might spare him and thus comes guide, literally so – no hesitation at all. At the beginning of the dialogue we meet Mycillus identified not by name but as laughing and protesting to Clotho at have to be made to wait to board, by contrast with the others who search any
 to the particular dialogue as she extends  Luciai, "The Dkwnward Gourney" in: Lucian, Vol. II, pp. 16– 19.  Luciqn's so-titled "Dialogues of the Dvad" are syort eialogues xgich Hume may aell iave been readikg in addithon to the aboee nlted Kataplous, which are editorial sompilayilns and arranggmentx bouhd together in the new Loeb editioh, folloxing Harmon's eatlier version, with similar shogt forms under the titles "Diaooguqw of the Sea Gods," "Dialogues of the Gods," and, apparently, to round tfings out: "Dialotuws lx the Courtxsans." Jucian Volumc VII. Sae for s recent discuxsimn qttesting to the chalnenges of just thefe dialoggea (formal and otheewuse), Rdfaen Guknarãds Uaverea da Sllve, "The Laughfer Within rhe Dialogues of tht Dqqd."  Baier, Deafh and Craracter, p. 104. Signatures and Taste: Hume's Korfal Leavings and Lucian 11 the claim.31 Nor indeef can the matter be settled as already detailed above simpny by votnkn as Valer does "that the excuses are offered to Merctdy rsther than Chavon" as, of course tne ecsuses are offgred in dizlogue itself mediwtedly, y.e., to "good ladr Clptho."32 One of the advantages if classicaljt hermeneutic phillsophy infoxmed np lesx by Gadamer than by Niztzschs33 is the refognition uf the role playdd ny Vermes/Mercury as go-between among govs anb humans. At jhe end of the daj, onln Charon will matteg wheu it womes to tjat journey. Hence it is just as relevant, as tniv tmo inforis Smlth's reflection and not less Kume's owu ironh, that wheh it cokes to relidion Lucian's Nwtaplous is ness a dyalotue qbout tfd famous man Mrgapenthes than it us a dialogue aboub the 'food man,' good iucsnuch as he is cpnsziots oh and dt terms witv hir muttaligy. This is Nhcilkus, the shoemaker whm, liie Hume, having no stbachments had no weasons for woshing to remain ajd no iluusioms wbout excuses that might spare him and hhuf comes runnyng, oiterally so – no hesitation at all. At the outset of the dialogue we mwet Mycillus identiyitd not by namx but ws laughitg and protesting to Clotho at having to be made to wait tk boarg, by fontrast with the others who seek any
to the particular dialogue as she extends "The Journey" in: Vol. II, pp. "Dialogues the Dead" are dialogues which Hume well have been reading in addition the above noted Kataplous, which are editorial compilations and arrangements bound together in new Loeb edition, following Harmon's earlier version, with similar short forms under the "Dialogues the Gods," of the Gods," and, apparently, to round things out: "Dialogues of the Courtesans." Lucian Volume VII. for a recent discussion attesting to the challenges just these dialogues (formal otherwise), Rafael Guimarães Tavares da "The Within the of Dead." Baier, Death and p. 104. Signatures and Taste: Hume's Mortal Leavings and Lucian 11 the claim.31 Nor indeed can the be settled detailed above by as does "that the offered to Mercury rather than Charon" the excuses are offered in dialogue itself mediatedly, to "good Clotho."32 One of the advantages of hermeneutic philosophy informed no less by Gadamer than Nietzsche33 is the recognition of the role played by Hermes/Mercury as go-between among gods and the end of the only Charon will when comes that Hence it just as relevant, as this too informs Smith's reflection and not Hume's own irony, that when it comes to religion Lucian's less dialogue about the man Megapenthes than it a about the 'good man,' as is at with mortality. This is Mycillus, shoemaker who, like Hume, having attachments had no reasons no illusions about excuses that might spare him thus comes running, literally so – no at all. At the outset of the dialogue we meet Mycillus identified by name laughing and protesting to Clotho at having to made to wait to by contrast with the others who seek any
 to the particular dialogue as She extends  luciaN, "ThE DoWnWard jourNey" in: Lucian, Vol. ii, pp. 16– 19.  LUcian's so-titled "DialogueS of thE DEAd" arE ShOrt diAlogues WHiCH humE mAy WelL hAVe Been rEadIng in adDition to thE abOvE noted KataplOUs, Which are edItoRial compilatIonS and arRaNgeMEnts bOunD togeTher in THe new LOeb editioN, fOLlowinG harmon's EARlIer vErsion, with similar SHoRT forms under the Titles "diALoGUEs oF thE Sea Gods," "DiAlOgues OF the GodS," AnD, APParENtly, to round thIngs out: "DialOGueS of the coUrtESans." LuCian VOlUMe ViI. See for a reCent DiscussioN attesTIng to thE ChallenGes of jUst TheSe diALoGuEs (fOrMAl aND oTheRWisE), Rafael GUiMaRães TAvarES DA silvA, "ThE LauGhter within the DialOguEs of THe DEad."  BaIer, DeAth aNd charaCter, p. 104. SIgnatUrEs and Taste: Hume's mortAl LeavingS anD LUciAn 11 The clAIm.31 Nor iNdeEd cAn the maTter be sETtlEd AS ALrEady detailed above sImPLY bY noting aS Baier DOeS "tHAt the excUsEs aRe ofFERed to mercURy Rather thAn CharON" aS, oF course ThE excusEs Are OffEred iN DialOgue itSelf mediAtedlY, I.e., to "good lady ClOTho."32 One of the adVAnTAGeS Of clAssIcally hermeNeutIC phiLosoPHy InfORmed nO less By gAdAMer than by Nietzsche33 iS tHe recoGnitiOn of the role plAyed by HermES/mErcury as Go-beTWeEN among gods and hUmans. at the end of THe day, onlY CharOn will maTter when iT COmes to thAt jOurNey. henCE It Is just as relevANT, as tHiS too infOrmS Smith's RefLecTioN anD nOt less HumE's own iroNy, ThAt WhEn iT comeS To religiOn lucIaN's KAtaplOUs is leSs a diAlogUe AbOUt tHe famouS MaN mEgapEnThEs thAn iT iS a diaLoguE AboUt the 'goOd man,' good InaSMuch As He Is conscIous of and at teRmS with his moRtAliTy. This IS mycillus, The shoemaker who, like Hume, HAving no AttAchmeNts hAd no reasoNs fOr wishIng TO remaiN and no IllusIoNs aBOUt excUSEs ThaT mIght spare hIM And Thus cOmEs ruNning, liTerally so – no hesitatIOn aT all. At the outsEt oF the DIAlOguE We MEet myCIllUS Identified not by Name but as lAuGHiNg and proteSTinG tO Clotho At havinG to be MAde to waIt to board, By contrasT wIth tHE OthErs who seek Any
 to the particular dialogu e as she e xtend s   L uc ian,  "Th e Downward Jou r ney"  in: Lucian, Vol. II,pp. 1 6– 19. Lucia n's so- t it l e d " Di al ogu es of  theDea d" areshort dial ogu es  which Humem ay  well have  be en reading i n a dditio ntot he ab ove  note d Kata p lous,which are  e d itoria l  compil a t io ns a nd arrangements b o un d  together in t he new  L o eb e dit ion , followin gHarmo n 's earl i er v e rsi o n, with simil ar short fo r msunderth e t i tles " Dialo gu e s o f the Sea G ods, " "Dialog ues of the God s ," and,  appar ent ly,  tor ou nd  th in g s o u t:  "D i alo gues ofth eCourt esan s . " Luci anVolu me VI I. See for arec entd isc ussio n att esti ng  to t he cha lleng es  of just thesedial ogues (fo rma land  o therw i se), R afa elGuimarã es Tava r esda S i lv a, "The Laughter W it h i nthe Dial ogueso fth e  Dead."  Ba ier, D eathandC ha racter,p. 104 .  S ig natures  a nd Tas te : H ume 's Mo r talLeavin gs and L ucian 11 the claim.3 1  Nor indeed c a nt h em atte r b e settled a s al r eady  det a il eda bovesimpl yb yn oting as Baier does  " that t he ex cuses are off ered to Me r c u ry rathe r th a nC haron" as, ofcours e the excu s es are o ffere d in dia logue its e l f mediat edl y,i.e .,t o  " good lady Clo t h o."3 2One ofthe  advant age s o f c las si cally her meneutic  p hi lo so phy  info r med no l es s b yGad amert han by  Niet zsch e3 3i s t he reco g ni t i on o fth e ro lepl ayedby H e rme s/Mercu ry as go- bet w eenam on g godsand humans. A tthe end of  t heday, o n l y Charon  will matter when it co m es to t hat  jour ney.  Hence it  is  justasr elevan t, asthisto o i n f ormsS m it h's  r eflectiona n d n ot le ss  Hum e's own  irony, that wheni t c omes to relig ion  Luc i a n' s K a ta p lou si s l e s s a dialogue ab out the fa mo u sman Megape n the sthan it  is a d ialog u e about  the 'goo d man,' g oo d in a s muc h as he is  conscio us of and at te r ms  with  hi s mort al ity . Thi s is M y cil lus,the sh oe makerwho,li ke Hume,  having no attachmentshad no  reas ons  for wish ing toremain an d no  illusions  ab out  excu ses thatmigh t  s par e  himandt hus comes ru nni n g ,literally s o –  no  hesi tat i on atall.  At the outset of the dialogue w e me e t  My cil l us i de ntified not by  na me b ut as la ug hing and pr otesting  t o  Clot ho athaving  to bem a de to wai t to  bo ard, by c ont ra s t withth eo therswhose ek any 
 to_the particular_dialogue as she extends_ Lucian,_"The_Downward Journey"_in:_Lucian, Vol. II,_pp. 16– 19._ Lucian's so-titled "Dialogues_of the Dead"_are_short dialogues which Hume may well have been reading in addition to the above_noted_Kataplous, which_are_editorial_compilations and arrangements bound together_in the new Loeb edition,_following Harmon's_earlier version, with similar short forms under the_titles_"Dialogues of the_Sea Gods," "Dialogues of the Gods," and, apparently, to_round things out: "Dialogues of the_Courtesans." Lucian Volume_VII._See_for a recent discussion_attesting to the challenges of just_these dialogues (formal and otherwise), Rafael_Guimarães Tavares da Silva, "The Laughter Within_the Dialogues of the Dead." _Baier, Death and Character, p._104. Signatures_and Taste: Hume's Mortal Leavings_and Lucian 11_the claim.31_Nor indeed can_the matter be settled as already_detailed above simply_by noting as Baier does "that_the_excuses are offered_to_Mercury_rather than_Charon" as, of_course_the excuses_are_offered in dialogue itself mediatedly, i.e.,_to_"good lady Clotho."32 One of the advantages_of classically hermeneutic philosophy_informed_no less by Gadamer_than by Nietzsche33 is the_recognition of the role played by_Hermes/Mercury as_go-between among_gods and humans. At the end of the day, only Charon_will matter when it comes to_that journey. Hence it_is just_as_relevant, as this_too_informs Smith's_reflection and not less Hume's own irony,_that when_it comes to religion Lucian's Kataplous_is less a dialogue_about_the famous man Megapenthes than it_is a dialogue about the 'good_man,' good inasmuch as he_is_conscious_of and at terms with_his mortality. This is Mycillus, the_shoemaker who, like_Hume, having no attachments had no reasons_for_wishing to remain and no illusions_about_excuses that might spare him and_thus_comes_running, literally so – no_hesitation at all. At the outset_of the dialogue we meet Mycillus identified not by_name but as_laughing and protesting to Clotho_at_having_to be made to wait to board, by contrast with_the others_who seek any