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 Washington Irving. 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 Washington Irving. 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 do walk
Methinks like Guide Vaux, with my dark lanthorn,
Stealing to set the town o' fire; i' th' country
I should be taken for William o' the Wisp,
Or Robin Goodfellow.
- FLETCHER.
I am somewhat of an antiquity-hunter, and am fond of exploring London in quest of the relics of old times. These are principally to be found in the depths of the city, swallowed up and almost lost in a wilderness of brick and mortar, but deriving poetical and romantic interest from the commonplace, prosaic world around them. I was struck with an instance of the kind in the course of a recent summer ramble into the city; for the city is only to be explored to advantage in summer-time, when free from the smoke and fog and rain and mud of winter. I had been buffeting for some time against the current of population setting through Fleet Street. The warm weather had unstrung my nerves and made me sensitive to every jar and jostle and discordant sound. The flesh was weary, the spirit faint, and I was getting out of humor with the bustling busy throng through which I had to struggle, when in a fit of desperation I tore my way through the crowd, plunged into a by-lane, and, after passing through several obscure nooks and angles, emerged into a quaint and quiet court with a grassplot in the centre overhung by elms, and kept perpetually fresh and green by a fountain with its sparkling jet of water. A student with book in hand was seated on a stone bench, partly reading, partly meditating on the movements of two or three trim nursery-maids with their infant charges.
I was like an Arab who had suddenly come upon an oasis amid the panting sterility of the desert. By degrees the quiet and coolness of the place soothed my nerves and refreshed my spirit. I pursued my walk, and came, hard by, to a very ancient chapel with a low-browed Saxon portal of massive and rich architecture. The interior was circular and lofty and lighted from above. Around were monumental tombs of ancient date on which were extended the marble effigies of warriors in armor. Some had the hands devoutly crossed upon the breast; others grasped the pommel of the sword, menacing hostility even in the tomb, while the crossed legs of several indicated soldiers of the Faith who had been on crusades to the Holy Land.
I was, in fact, in the chapel of the Knights Templars, strangely situated in the very centre of sordid traffic; and I do not know a more impressive lesson for the many of the world than thus suddenly to turn aside from the highway of busy money-seeking life, and sit down among these shadowy sepulchres, where all is twilight, dust, and forget-fullness.
In a subsequent tour of observation I encountered another of these relics of a 'foregone world' locked up in the heart of the city. I had been wandering for some time through dull monotonous streets, destitute of anything to strike the eye or excite the imagination, when I beheld before me a Gothic gateway of mouldering antiquity. It opened into a spacious quadrangle forming the courtyard of a stately Gothic pile, the portal of which stood invitingly open.
It was apparently a public edifice, and, as I was antiquity-hunting, I ventured in, though with dubious steps. Meeting no one either to oppose or rebuke my intrusion, I continued on until I found myself in a great hall with a lofty arched roof and oaken gallery, all of Gothic architecture. At one end of the hall was an enormous fireplace, with wooden settles on each side; at the other end was a raised platform, or dais, the seat of state, above which was the portrait of a man in antique garb with a long robe, a ruff, and a venerable gray beard.
The whole establishment had an air of monastic quiet and seclusion, and what gave it a mysterious charm was, that I had not met with a human being since I had passed the threshold.
Encouraged by this loneliness, I seated myself in a recess of a large bow window, which admitted a broad flood of yellow sunshine, checkered here and there by tints from panes of colored glass, while an open casement let in the soft summer air. Here, leaning my head on my hand and my arm on an old oaken table, I indulged in a sort of reverie about what might have been the ancient uses of this edifice. It had evidently been of monastic origin; perhaps one of those collegiate establishments built of yore for the promotion of learning, where the patient monk, in the ample solitude of the cloister, added page to page and volume to volume, emulating in the productions of his brain the magnitude of the pile he inhabited.
As I was seated in this musing mood a small panelled door in an arch at the upper end of the hall was opened, and a number of gray-headed old men, clad in long black cloaks, came forth one by one, proceeding in that manner through the hall, without uttering a word, each turning a pale face on me as he passed, and disappearing through a door at the lower end.
I was singularly struck with their appearance; their black cloaks and antiquated air comported with the style of this most venerable and mysterious pile. It was as if the ghosts of the departed years, about which I had been musing, were passing in review before me. Pleasing myself with such fancies, I set out, in the spirit of romance, to explore what I pictured to myself a realm of shadows existing in the very centre of substantial realities.
My ramble led me through a labyrinth of interior courts and corridors and dilapidated cloisters, for the main edifice had many additions and dependencies, built at various times and in various styles. In one open space a number of boys, who evidently belonged to the establishment, were at their sports, but everywhere I observed those mysterious old gray men in black mantles, sometimes sauntering alone, sometimes conversing in groups; they appeared to be the pervading genii of the place. I now called to mind what I had read of certain colleges in old times, where judicial astrology, geomancy, necromancy, and other forbidden and magical sciences were taught. Was this an establishment of the kind, and were these black-cloaked old men really professors of the black art?
These surmises were passing through my mind as my eye glanced into a chamber hung round with all kinds of strange and uncouth objects, implements of savage warfare, strange idols and stuffed alligators; bottled serpents and monsters decorated the mantelpiece; while on the high tester of an old-fashioned bedstead grinned a human skull, flanked on each side by a dried cat.
I approached to regard more narrowly this mystic chamber, which seemed a fitting laboratory for a necromancer, when I was startled at beholding a human countenance staring at me from a dusky corner. It was that of a small, shrivelled old man with thin cheeks, bright eyes, and gray, wiry, projecting eyebrows. I at first doubted whether it were not a mummy curiously preserved, but it moved, and I saw that it was alive. It was another of these black-cloaked old men, and, as I regarded his quaint physiognomy, his obsolete garb, and the hideous and sinister objects by which he was surrounded, I began to persuade myself that I had come upon the arch-mago who ruled over this magical fraternity.
Seeing me pausing before the door, he rose and invited me to enter. I obeyed with singular hardihood, for how did I know whether a wave of his wand might not metamorphose me into some strange monster or conjure me into one of the bottles on his mantelpiece? He proved, however, to be anything but a conjurer, and his simple garrulity soon dispelled all the magic and mystery with which I had enveloped this antiquated pile and its no less antiquated inhabitants.
It appeared that I had made my way into the centre of an ancient asylum for superannuated tradesmen and decayed householders, with which was connected a school for a limited number of boys. It was founded upwards of two centuries since on an old monastic establishment, and retained somewhat of the conventual air and character. The shadowy line of old men in black mantles who had passed before me in the hall, and whom I had elevated into magi, turned out to be the pensioners returning from morning, service in the chapel.
John Hallum, the little collector of curiosities whom I had made the arch magician, had been for six years a resident of the place, and had decorated this final nestling-place of his old age with relics and rarities picked up in the course of his life. According to his own account, he had been somewhat of a traveller, having been once in France, and very near making a visit to Holland. He regretted not having visited the latter country, 'as then he might have said he had been there.' He was evidently a traveller of the simple kind.
He was aristocratical too in his notions, keeping aloof, as I found, from the ordinary run of pensioners. His chief associates were a blind man who spoke Latin and Greek, of both which languages Hallum was profoundly ignorant, and a broken-down gentleman who had run through a fortune of forty thousand pounds left him by his father, and ten thousand pounds, the marriage portion of his wife. Little Hallum seemed to consider it an indubitable sign of gentle blood as well as of lofty spirit to be able to squander such enormous sums.
P.S. The picturesque remnant of old times into which I have thus beguiled the reader is what is called the Charter House, originally the Chartreuse. It was founded in 1611, on the remains of an ancient convent, by Sir Thomas Sutton, being one of those noble charities set on foot by individual munificence, and kept up with the quaintness and sanctity of ancient times amidst the modern changes and innovations of London. Here eighty broken-down men, who have seen better days, are provided in their old age with food, clothing, fuel, and a yearly allowance for private expenses. They dine together, as did the monks of old, in the hall which had been the refectory of the original convent. Attached to the establishment is a school for forty-four boys.
Stow, whose work I have consulted on the subject, speaking of the obligations of the gray-headed pensioners, says, 'They are not to intermeddle with any business touching the affairs of the hospital, but to attend only to the service of God, and take thankfully what is provided for them, without muttering, murmuring, or grudging. None to wear weapon, long hair, colored boots, spurs, or colored shoes, feathers in their hats, or any ruffian-like or unseemly apparel, but such as becomes hospital-men to wear.' 'And in truth,' adds Stow, 'happy are they that are so taken from the cares and sorrows of the world, and fixed in so good a place as these old men are; having nothing to care for but the good of their souls, to serve God, and to live in brotherly love.'
For the amusement of such as have been interested by the preceding sketch, taken down from my own observation, and who may wish to know a little more about the mysteries of London, I subjoin a modicum of local history put into my hands by an odd-looking old gentleman, in a small brown wig and a snuff-colored coat, with whom I became acquainted shortly after my visit to the Charter House. I confess I was a little dubious at first whether it was not one of those apocryphal tales often passed off upon inquiring travellers like myself, and which have brought our general character for veracity into such unmerited reproach. On making proper inquiries, however, I have received the most satisfactory assurances of the author's probity, and indeed have been told that he is actually engaged in a full and particular account of the very interesting region in which he resides, of which the following may be considered merely as a foretaste.