While modern students of Greek religion are alert to the occasion-boundedness of epiphanies and divinatory dreams in Greek polytheism, they are curiously indifferent to the generic parameters of the relevant textual representations on which they build their argument. Instead, generic questions are normally left to the literary critic, who in turn is less interested in religion. To evaluate the relation of epiphanies and divinatory dreams to Greek polytheism, the book investigates relevant representations through all major textual genres in pagan antiquity. The evidence of the investigated genres suggests that the 'epiphany-mindedness' of the Greeks, postulated by most modern critics, is largely an academic chimaera, a late-comer of Christianizing 19th-century-scholarship. It is primarily founded on a misinterpretation of Homer's notorious anthropomorphism (in the Iliad and Odyssey but also in the Homeric Hymns). This anthropomorphism, which is keenly absorbed by Greek drama and figural art, has very little to do with the religious lifeworld experience of the ancient Greeks, as it appears in other genres. By contrast, throughout all textual genres investigated here, divinatory dreams are represented as an ordinary and real part of the ancient Greeks' lifeworld experience.

This work presents a new critical edition of The Spartan Constitution, a treatise in state philosophy attributed to the historian Xenophon (c. 430 - c. 355 B. C.). The Greek text, reconstructed on the basis of extant manuscript sources, is prefaced by an introduction and supplemented by a critical commentary and an English translation. The introduction discusses the problem of the text's authenticity and dating and provides a comprehensive account of its sources, reception, language, style and structure as well as an analysis of the manuscript sources and the textual tradition. The commentary addresses linguistic as well as historical problems.

This study focuses on the character, literary precursors and effects of the language in Virgil's Eclogues. It is divided into four major sections: word formation, linguistic models, style level, personal names. Each section examines the influence of earlier poets (Theocritus, Callimachus, Ennius, Lucretius, Catullus et al.), the reception by later poets of the Augustan Age (Propertius, Tibullus, Ovid) and in particular the relationship of the Eclogues to Vergil's later work (Georgica, Aeneis).