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 Madison Julius Cawein. 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 Madison Julius Cawein. 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: I.
There's a boy who lives next door;
And this boy is just as bad
As a boy can be; and poor!
He's so poor it makes me sad
When I see him. Out at knee;
And no shoes; and, more than that,
Hardly any shirt or hat.
He's as poor as Poverty.
II.
But I like him; yes, I do.
He can play 'most any game,
And tell fairy stories, too;
Funny stories, just the same
As my father does. And he
Told me one about a frog,
Living near a lake or bog,
Frog that married a bumblebee.
III.
And another of Jumping Joan
And Hink Minx, the old witch that
Sits before the fire alone
Frying fat for her black cat.
And of Craney Crow; her dog
And her chicken. But the best,
One I like more than the rest,
'S that one of the bee and frog.
IV.
Well, the bumblebee would sing
All day long; and all the night
Sang the old frog; till the thing,
So folks said, was done in spite,
Just to keep the flowers awake:
One a rose, a brier-rose;
And the other, one of those
Lilies that grow in a lake.
V.
All day long the bee would prod
At the rose and buzz and keep
Shaking it; it couldn't nod,
Much less ever go to sleep:
Humming to it, "Don't you hear?
I'm so happy! Can't you be
Just a little neighborly?
Ain't my froggie just a dear?"
VI.
And the frog all night would sing
To the water-lily; while
On the pad he'd sit or cling,
On his face an ear-wide smile,
Croaking, "Listen! have you heard
All about my bouncing bee?
Don't you wish that you were she?
I'm as happy as a bird!"
VII.
Then the water-lily'd yawn,
And the rose would bat its eyes:
One would say, "It's nearly dawn.
Better sleep. So I advise."
And the other, "Jumping Jim!
That old frog's a wonder! made
Just for you. Can't I persuade
You to sing your songs to him?"
VIII.
Finally it got so bad
That the rose and lily agreed
They would fix them. Both were mad
And just dying to be freed
From this tuneful tyranny.
So the rose just took a thorn,
When the bee dropped in one morn,
Stabbed her; killed her dead, you see.
IX.
That night by the yellow moon,
Sitting on the lily-pad,
Tuning up his old bassoon,
Did n't that old frog feel sad
When the lily told him! Cried
Fit to break one's heart; and, plunk!
In he plunged right there and sunk:
Drowned, committed suicide.