Horace implies that his great friend and patron Maecenas has been asking him to write lyric verse on unsuitable themes, including the victories of Augustus and the deeds of the legendary heroes of myth, including Hercules – shown, courtesy of the Met, on a fifth-century BCE kylix attributed to the painter Onesimos. You can do better justice to Augustus’s achievements yourself in prose, says Horace – I will stick to more familiar lyric territory and sing the praises of the lovely Licymnia.

Hear Horace’s Latin and follow in English here.

Horace uses the metaphor of a ship in stormy seas to express his hope that Rome will win through to safety in a time of danger. Hear the Ode performed in the original Latin and follow in a new English translation here.

The illustration, by Rembrandt, is of Christ in the storm on the Sea of Galilee. If you happen to see this painting anywhere, please tell the Isabella Gardner Stewart Museum in Boston – it was stolen from them in 1990 and has not been returned.

See how Mount Soracte stands white with the deep snow … this is perhaps Horace’s most benign and attractive version of the carpe diem theme, with the stress on wine, warmth and love, rather than the inexorable journey to the grave. See and hear the poem here.

Tennyson combines his admiration for Milton’s poetry with his love of ancient poetry, and in particular his love of Alcaics, the Greek metre that Horace used for his loftiest themes in the Odes. You can decide for yourself how far the experiment succeeds, and use the links to compare Tennyson’s poem to some of Horace’s poems in the same metre, here.