There is one day in any poet's life when thy become ready to write the 'Monument'. This time I attempted to write in a quantitative verse with compulsory elisions (which seem, due to the nature of Quenya initials and finals, to be just too overabundant). The elisions I bracketed for simplicity. As it is often done (and is a sensible choice), I chose to replace the whole of Horace's metaphors and images with those compatible to the Legendarium — and to myself instead of the Roman poet. Feel free to look for easter eggs!

Sarnass[é] ortanien, vórima, lá y[a] urus,
ims[a] ar y[a] órie lá yára Taniquetil,
lá sára hy[a] ar ulo, hy[a] urs[a] ar i•Kottova
inyen lá hatitas sí poluva, queren

yén[i] únótimeon normeye lúmeo.
lá, l[á] ilyá firuvan: lán rafuvaina ta
Mandostonna sanar: laitalenen palan
Iny[e] envinyaruva nyáriy[e], en Ardas é

lan Tindómeo már[a] aryon i•Seldeva.
hildor sin quetuvar: sisse, ye túlie
sír•rávallo Kam[o] au — Koivie•nelloye,
Ilmár yasse hepis nissi neriny[e] ena,

Maitar nellon enel, Minya n[i] okólie
lírí Rómava ta hlóna min[a] Eldarin;
Valtanyá s[í] ela, yá hírien elyenen,
Mai[a], ar (tankave) nin ríanen untupá.

(Q. Hor. Flacci carmen III 30)

Linguistic and Prosodic Commentary

Line 1
sarnasse: cognate of S. sarnas.

Line 2:
Note the counterposition of transitive ortá and intransitive orya in this and the previous lines.
lá is 'beyond' < LAƷA in both lines, not negative.

Line 3:
Kotto: id est Morikotto.

Line 5:
yéni únótimeon: a deliberate use of Namárie imagery. Not the last declinable word pattern used for metric purpose.

Line 6:
rafuvaina: future passive participle from RAPH.

Line 8:
Ardas: a short locative.

Line 9:
Tindómeo... Selde: id est Tindómerel.

Line 11:
Not that I have even stepped onto the banks of Kama (sír•rávanna Kamo), but the feeling is unchanged. The gap between Volga and Kama is often call the Ugro-Finnic homeland (hence Koivie•nen!).

Line 12:
Ilmár: now pronounced Inmar (inviable for Quenya). However, the current etymology often connects him to Finnish Ilmarinen etc. and claims an assimilation. The added length imitates the stress-position (and gives a hint of MBAR at the same time).

Line 15:
valta: 'pride', cf. EN. blaud.

Line 16:
Maia: Muses or Camenae would seem to be Maiar, according to the classification of spirits.