See West’s Notes at: West, D. Horace Odes I Carpe Diem: Text, Translation and Commentary, Oxford: Clarendon Press, (1995) pp.132-135
In my version I substitute metre for mathematical measure and refer to it (Horace’s metre) being fine as sand; this is to pick up on the idea in the original where Archytas is described as ‘measurer of earth and ocean and numberless sand’ ‘There is no evidence that he counted the number of grains of sand in the world (that achievement belonged to Archimedes), but poignant although it is in this context, it need not be false. Horace knew more about Archytas than we do.’  The dust ‘sprinkled’ in stanza one of the original is replaced in my version by a ‘sprinkling’ of scholars. My reference to ‘brilliance’ , ‘universe’ and ‘oblivion’ is an effort to represent the space-voyaging metaphor of the original.
I chose Horace, Ovid, Sappho, Lucilius and Alcaeus as my five dead ‘worthies’ who have moved off into oblivion, been forgotten etc. So far as Horace is concerned there is a kind of irony here in that I am engaging with him and poets through the ages have engaged with him, despite this though, he is not as taught in schools as used to be the case and seems now to be the concern mainly of Latin scholars as opposed to being more generally in the public domain. Describing Alcaeus I talk of his words crashing like thunder and lightning in the public ear. (Horace described him as impressive in Odes 2.13, ‘and you, Alcaeus, sounding in fuller tones’) As far as Sappho is concerned we are left only with fragments of her writing. I liken Ovid to Tantalus in the original, as one who communed with the gods in that he (Ovid) could change the shape of things. According to Wikipedia, ‘The remains of Lucilius extend to about eleven hundred, mostly unconnected lines’ I refer in my version to Lucilius’ verse being ‘fresh’, I do this because ‘His chief claim to distinction is his literary originality. He may be called the inventor of poetical satire, as he was the first to impress upon the rude inartistic medley, known to the Romans by the name of satura, that character of aggressive and censorious criticism of persons, morals, manners, politics, literature, etc which the word satire has ever since denoted.’
I compare Pythagoras, who is said to have died twice, with the contemporary poet Brendan Kennelly, who is still alive, but underwent quadruple heart surgery some years ago and had near-death experiences which he captured in his collection called Man Made of Rain, so I’ve twisted the poem in that neither he nor the narrator of the poem are yet dead, but sure enough will be given time, which I think nicely picks up yet again, Horace’s recurring theme that death comes to all of us, great and small. The phrase ‘final page’ towards the end of the poem is used as a metaphor for death and my expressed desire to be laid in the ‘archive’ whilst referring to physical death, represents a wish to be remembered and re-read – to be given, as in the original an appropriate rite of burial and passage.
The new arrival at the end of my poem, i.e. the ‘literary folk’ who give me the opportunity of a proper burial and consequently peace in death, are ever elusive editors and publishers, I therefore stop musing about the dead and tackle them in a hurry!
 West, D. Horace Odes I Carpe Diem: Text, Translation and Commentary, Oxford: Clarendon Press, (1995) p.131
 West, D. (1997) Horace: The Complete Odes and Epodes. Oxford University Press,:Oxford p.151