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 William Morris. 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 William Morris. 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: So swift the hours are moving
Unto the time un-proved:
Farewell my love unloving,
Farewell my love beloved!
What! are we not glad-hearted?
Is there no deed to do?
Is not all fear departed
And Spring-tide blossomed new?
The sails swell out above us,
The sea-ridge lifts the keel;
For They have called who love us,
Who bear the gifts that heal:
A crown for him that winneth,
A bed for him that fails,
A glory that beginneth
In never-dying tales.
Yet now the pain is ended
And the glad hand grips the sword,
Look on thy life amended
And deal out due award.
Think of the thankless morning,
The gifts of noon unused;
Think of the eve of scorning,
The night of prayer refused.
And yet.    The life before it,
Dost thou remember aught,
What terrors shivered o'er it
Born from the hell of thought?
And this that cometh after:
How dost thou live, and dare
To meet its empty laughter,
To face its friendless care?
In fear didst thou desire,
At peace dost thou regret,
The wasting of the fire,
The tangling of the net.
Love came and gat fair greeting;
Love went; and left no shame.
Shall both the twilights meeting
The summer sunlight blame?
What! cometh love and goeth
Like the dark night's empty wind,
Because thy folly soweth
The harvest of the blind?
Hast thou slain love with sorrow?
Have thy tears quenched the sun?
Nay even yet to-morrow
Shall many a deed be done.
This twilight sea thou sailest,
Has it grown dim and black
For that wherein thou failest,
And the story of thy lack?
Peace then! for thine old grieving
Was born of Earth the kind,
And the sad tale thou art leaving
Earth shall not leave behind.
Peace! for that joy abiding
Whereon thou layest hold
Earth keepeth for a tiding
For the day when this is old.
Thy soul and life shall perish,
And thy name as last night's wind;
But Earth the deed shall cherish
That thou to-day shalt find.
And all thy joy and sorrow
So great but yesterday,
So light a thing to-morrow,
Shall never pass away.
Lo! lo! the dawn-blink yonder,
The sunrise draweth nigh,
And men forget to wonder
That they were born to die.
Then praise the deed that wendeth
Through the daylight and the mirth!
The tale that never endeth
Whoso may dwell on earth.