with those works in which such eschatology is present, but not emphasized, such as the Apocalypse of Paul. The question arises whether they should be classified under subtype (b) or (c), but it is not clear how such works show the weakness of the typology itself. The reasons for choosing eschatology as a significant criterion of content are both its prominence in apocalypses and its absence in other genres. Himmelfarb is correct that relatively little attention was paid to “otherworldly elements” (109).