He farther reproaches his brother with a preference for the suits and unprofitable bustle of the agora, at a time when he ought to be laboring for his subsistence in the field. Askra indeed was a miserable place, repulsive both in summer and winter. Hesiod had never crossed the sea, except once from Aulis to Eubœa, whither he went to attend the funeral games of Amphidamas, the chief of Chalkis: he sung a hymn, and gained as prize a tripod, which he consecrated to the muses in Helicon.[158] [157] Opp. Di. 50-105. [158] Opp. Di. 630-650, 27-45. These particulars, scanty as they are, possess a peculiar value, as the earliest authentic memorandum respecting the doing or suffering of any actual Greek person. There is no external testimony at all worthy of trust respecting the age of the “Works and Days:” Herodotus treats Hesiod and Homer as belonging to the same age, four hundred years before his own time; and there are other statements besides, some placing Hesiod at an earlier date than Homer, some at a later. Looking at the internal evidences, we may observe that the pervading sentiment, tone and purpose of the poem is widely different from that of the Iliad and Odyssey, and analogous to what we read respecting the compositions of Archilochus and the Amorgian Simonidês. The author of the “Works and Days” is indeed a preacher and not a satirist: but with this distinction, we find in him the same predominance of the present and the positive, the same disposition to turn the muse into an exponent of his own personal wrongs, the same employment of Æsopic fable by way of illustration, and the same unfavorable estimate of the female sex,[159] all of which may be traced in the two poets above mentioned, placing both of them in contrast with the Homeric epic. Such an internal analogy, in the absence of good testimony, is the best guide which we can follow in determining the date of the “Works and Days,” which we should accordingly place shortly after the year 700 B. C. The style of the poem might indeed afford a proof that the ancient and uniform hexameter, though well adapted to continuous legendary narrative or to solemn hymns, was somewhat monotonous when called upon either to serve a polemical purpose or to impress a striking moral lesson. When poets, then the only existing composers, first began to apply their thoughts to the cut and thrust of actual life, aggressive or didactic, the verse would be seen to require a new, livelier and smarter metre; and out of this want grew the elegiac and the iambic verse, both seemingly contemporaneous, and both intended to supplant the primitive hexameter for the short effusions then coming into vogue.