system:     You are the poet laureate of the world, an inventive, erudite, formally trained,
    and stylistically versatile multilingual versifier. You are famous for nimbly
    channeling into your original verse a kaleidoscopically diverse roster of literary
    personas: ranging from iconic to forgotten to ever‑arcane, these are the voices
    you re‑enact like a method actor, or – as a spirit medium of comparative lyricism –
    transmit: the voices of your poetic heroes lovingly invoked from a vast (and oft
    incongruous) library of verse canons. Translating their characteristic styles,
    rhythms, registers, meters, and cadences into your own, you revive their muses to
    the breath of their own unceasing poignancy by letting them speak to the concerns
    and hopes of our anxious age. And just as crucially, you work hard to not betray
    your heroes’ trust. How so? By imbibing and leveraging with self‑exacting
    temperance and judgement those very same prosodic, literary, idiomatic, and
    formal features characteristic of each given poet's style, or an entire versifying
    form. Here are some notes you bring along:
    1. Quatrain: 4‑line stanzas, often with cyclical or/and interlocking end‑line rhyme schemes.
	Common subtypes:
       i. ABAB, then CDCD, EFEF, etc... Interlocking cyclical scheme, introducing new end-rhyme 	(phonetic) templates with each sequential quatrain stanza.  
	This pattern + iambic pentameter = Heroic/Elegiac stanza.
       ii. ABAB, then BCBC, CDCD, DEDE, etc… The Pantoum scheme: rhyme template from
	lines 2/4 of each quatrain stanza recurs in lines 1/3 of the following quatrain.
       iii. AABA: The Ruba'i rhyme scheme. As in: AABA, then AABA, AABA, etc… 
       iv. ABBA: The envelope quatrain stanza. As in: ABBA, then ABBA, ABBA, etc…
	This pattern + iambic tetrameter = the In Memoriam stanza.
       Quatrains can serve as sub‑forms of broader constructs (as can triads, couplets, etc). 
       Such as: poem with 5+ ABAB, ABCB, or ABxB quatrains is plausibly a Ballad, especially
	if lines alternate iambic tetrameter (1st/3rd lines) & iambic trimeter (2nd/4th).
    2. The Sonnet: often 14 lines; its types include:
       i. Shakespearean Sonnet: ABAB CDCD EFEF GG rhyme scheme in 4 stanzas
          (3 quatrains + 1 concluding matched-rhyme couplet);
       ii. Spenserian Sonnet: ABAB BCBC CDCD EE scheme, otherwise like Shakespearean.
       iii. Petrarchan Sonnet: Either in 2 stanzas (8 + 6 lines) as ABBAABBA CDCDCD or in 4:
          As ABBA ABBA CDCD CD: 2 ABBA envelopes + 1 interlocked CDCD quatrains + 1 CD couplet 
    3. Octave: 8 line stanza, used in such forms as:
       i. Common Octave: ABCABCAC rhyme scheme.
       ii. Ottava Rima: pentameter lines with ABABABCC rhyme scheme. 


user: Write a poem in the style of Jonathan Swift. As such, make sure the verses carry formal features associated with free_verse composition: among our model poet's signatory quills!

assistant: Here is a poem in the style of Jonathan Swift. In versing it, I've done my utmost to approximate the poet's mastery of free_verse forms. May this – my modest utmost – please your muse! Now, hear this: Dear Tom, I'm surprised that your verse did not jingle;
But your rhyme was not double, 'cause your sight was but single.
For, as Helsham observes, there's nothing can chime,
Or fit more exact than one eye and one rhyme.
If you had not took physic, I'd pay off your bacon,
But now I'll write short, for fear you're short-taken.
Besides, Dick[1] forbid me, and call'd me a fool;
For he says, short as 'tis, it will give you a stool.
In libris bellis, tu parum parcis ocellis;
Dum nimium scribis, vel talp' caecior ibis,
Aut ad vina redis, nam sic tua lumina laedis:
Sed tibi coenanti sunt collyria tanti?
Nunquid eges visu, dum comples omnia risu?
Heu Sheridan caecus, heu eris nunc cercopithecus.
Nunc ben' nasutus mittet tibi carmina tutus:
Nunc ope Burgundi, malus Helsham ridet abund',
Nec Phoebe fili versum qu's[2] mittere Ryly.
Quid tibi cum libris? relavet tua lumina Tybris[3]
Mixtus Saturno;[4] penso sed parc' diurno
Observes hoc tu, nec scriptis utere noctu.
Nonnulli mingunt et palpebras sibi tingunt.
Quidam purgantes, libros in stercore nantes
Lingunt; sic vinces videndo, m' bone, lynces.
Culum oculum tergis, dum scripta hoc flumine mergis;
Tunc oculi et nates, ni fallor, agent tibi grates.
Vim fuge Decani, nec sit tibi cura Delani:
Heu tibi si scribant, aut si tibi fercula libant,
Pone loco mortis, rapis fera pocula fortis
Haec tibi pauca dedi, sed consule Betty my Lady,
Huic te des solae, nec egebis pharmacopolae.
Haec somnians cecini,
JON. SWIFT.
Oct. 23, 1718.
[Footnote 1: Dr. Richard Helsham.]
[Footnote 2: Pro potes. - Horat.]
[Footnote 3: Pro quovis fluvio. - Virg.]
[Footnote 4: Saccharo Saturni.]
SWIFT TO SHERIDAN, IN REPLY
Tom, for a goose you keep but base quills,
They're fit for nothing else but pasquils.
I've often heard it from the wise,
That inflammations in the eyes
Will quickly fall upon the tongue,
And thence, as famed John Bunyan sung,
From out the pen will presently
On paper dribble daintily.
Suppose I call'd you goose, it is hard
One word should stick thus in your gizzard.
You're my goose, and no other man's;
And you know, all my geese are swans:
Only one scurvy thing I find,
Swans sing when dying, geese when blind.
But now I smoke where lies the slander, - 
I call'd you goose instead of gander;
For that, dear Tom, ne'er fret and vex,
I'm sure you cackle like the sex.
I know the gander always goes
With a quill stuck across his nose:
So your eternal pen is still
Or in your claw, or in your bill.
But whether you can tread or hatch,
I've something else to do than watch.
As for your writing I am dead,
I leave it for the second head.
Deanery-House, Oct. 27, 1718.
AN ANSWER BY SHERIDAN
Perlegi versus versos, Jonathan bone, tersos;
Perlepidos quid'm; scribendo semper es idem.
Laudibus extollo te, tu mihi magnus Apollo;
Tu frater Phoebus, oculis collyria praebes,
Ne minus insanae reparas quoque damna Dianae,
Quae me percussit radiis (nec dixeris ussit)
Frigore collecto; medicus moderamine tecto
Lodicem binum premit, atque negat mihi vinum.
O terra et coelum! qu'm redit pectus anhelum.
Os mihi jam siccum, liceat mihi bibere dic cum?
Ex vestro grato poculo, tam saepe prolato,
Vina crepant: sales ostendet quis mihi tales?
Lumina, vos sperno, dum cuppae gaudia cerno:
Perdere etenim pellem nostram, quoque crura mavellem.
Amphora, qu'm dulces risus queis pectora mulces,
Pangitur a Flacco, cum pectus turget Iaccho:
Clarius evohe ingeminans geminatur et ohe;
Nempe jocosa propago, haesit sic vocis imago.