PantheonPoets.com is now one year old and recently posted its hundredth poem. Thank you for your company along the way.

There will be more to come in our second year from Horace and Virgil, Rome’s greatest lyric and epic writers. So far, there are 16 of Horace’s Odes, and extracts from the Aeneid have reached book seven (of twelve). There will be more Ovid, Catullus and Propertius, and new authors such as the scientist-philosopher Lucretius, from whom a first extract has recently been added.

The aim is to make the poetry as accessible and entertaining as possible, and finding an illustration for every poem is part of this. Another recent feature is a new series of selections of poems by different Latin authors on a common theme, so far including love, happy and unhappy, monsters, mourning and gods and demons. I hope that these will make it easier for you to go exploring if you are not necessarily a classicist. In time there will be a dozen or more of these selections: you will find them under the Latin Poetry tab.

“Modern” – in other words, post-classical – poetry continues to be an important part of Pantheon Poets. There is poetry from 16 authors so far, many chosen to show direct echoes or wider cultural influence from the classics. Do browse this “Other” poetry as well as the Latin and Greek. You may find surprises, including a mock-classical passage from Marcel Proust to celebrate his 150th birthday next month – he is not as widely appreciated for his jokes as he deserves to be.

You can keep informed about new poems using the “News” feed, which gives links to the poetry itself and to the illustrated blog. Or you can hear about new poems and see the illustrations by following us on Instagram (pantheon.poets): there is also a new feed there – realmsofgoldpoets – drawing attention to post-classical poetry at the Pantheon Poets website.

Poetry in modern languages other than English is performed at Pantheon Poets by mother-tongue readers, and I would like to give special thanks to my German, French and Italian friends Tatjana, Olivia and Daniel, as well as to Lahive Creative for their great work over the past year.

It has been a strange old year, but Boethius reminds us that the world keeps on turning:

semper vicibus temporis aequis
Vesper seras nuntiat umbras
revehitque diem Lucifer almum. *

Pantheon Poets and I wish you joy, fulfilment and freedom in the year to come.

Marcus Agrippa

*Forever, to the steady beat of time, the evening star says lateness and the dark, the morning star brings back the kindly day.

On deep consideration, King Latinus accedes to Aeneas’s request through his ambassadors for peaceful permission to settle, and is ready to offer him his daughter’s hand in marriage. The prospects for peace look bright, but they are fragile and Juno is ready to take a hand and sow discord.

Hear the extract in Latin and follow in English here.

At first glance there is not much in this poem to remind us of Latin, except perhaps for the “murmuring labours” of the Etonians studying their vocab or irregular verbs. However, it is pure “carpe diem”, and the personified human misfortunes it lists are a pretty close borrowing from Book 6 of the Aeneid. See the Aeneid text, and the whole of the Gray poem, here.

The picture is one of a sequence illustrating the poem by William Blake.

King Latinus, informed that strangers have arrived in the kingdom and that ambassadors have come to wait on him, goes to the heart of his court to receive them, a resplendent building with a hundred columns at the top of the city. It stands in a dense, sacred wood and serves as a temple as well as a throne-room, containing the spoils of war along with carvings of Latinus’s predecessors. One of these is of King Picus, whom the sorceress Circe turned into a woodpecker when he rejected her advances. He is not visible in this picture of Circe and her shape-shifted pets: perhaps he is staying out of reach of her lions and foxes.

Hear the Latin and follow in English here.

In today’s extract, Aeneas learns in his journey to the underworld of Marcellus, the Emperor Augustus’s nephew. Augustus adopted him as his son and prospective successor and heir in 25 BCE, when he was still only a teenager. It was not to be: Marcellus would die only two years later with his potential unfulfilled. The illustration shows what might have been: the general making a triumphant entry to Rome may be the Marcellus with whose shade Aeneas sees the young man walking, an illustrious war leader of the third century BCE.

Hear the extract in Latin and follow in English here.

Yeats shows classical and Byzantine influences in a poem that expresses sadness at growing old but asserts the power of mysticism and intellect. He may have had this 6th century portrait of the Byzantine Emperor Justinian I in mind when making his references to golden mosaics and drowsy Emperors. Read the poem here.

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