Also, I have learned that Mac OS X includes Zapfino, and its word processor Pages appears to modify the glyphs according to the characters adjacent. Noting this, it might be possible for me to do this myself, but I think I would still need some guidance. Thanks.

Sorry to spam my own topic, but attached is a quick attempt, still using Pages. I believe I'll need to switch to Illustrator to access the hyper-flourishes.

Okay, well apparently I'm talking to myself, now, but I was able to find the glyph selector on Mac, so I took the liberty of adding some style. I hope it's not too much. Can anyone please provide their thoughts? I would like this to look professional.

Also, I'm noticing the new version is somewhat harder to read though I payed more attention to avoiding glyph contact between the lines. Is this because the flourishes are larger?

This must be the best specimen of Zapfino I've seen in a while. I always see Zapfino on garbage bins and in ugly logos.

I had trouble understanding the poem but readability was fine. I wouldn't worry about how easy it is to read this from a distance. When you're reading from close proximity a major problem is character recognition, you know if a certain letter looked like another or if it doesn't look like any at all. But in the case of Zapfino it's such a well-drawn typeface with a very solid calligraphic background and all the flourishes and the styling do not add any ambiguity.

I think you've done a great job on the second one, you made it more even in texture. I would be tempted to set WILLIAM ERNEST HENLEY - INVICTUS in serif capitals. Something like Hoefler All Caps at a height a little larger than the Zapfino x-height in the text. Naaah forget I said that you probably want the name of the author to be prominent.

Other than that add more margin especially on the sides (if you can I don't know maybe this is the ratio you're working with).

Oh and if you're interested in Herman Zapf's lettering take a look at this video.