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 Schwenck Gilbert. 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 Schwenck Gilbert. 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 go away this blessed day,
To sail across the sea, Matilda!
My vessel starts for various parts
At twenty after three, Matilda.
I hardly know where we may go,
Or if it's near or far, Matilda,
For Captain Hyde does not confide
In any 'fore-mast tar, Matilda!
Beneath my ban that mystic man
Shall suffer, coute qui coute, Matilda!
What right has he to keep from me
The Admiralty route, Matilda?
Because, forsooth! I am a youth
Of common sailors' lot, Matilda!
Am I a man on human plan
Designed, or am I not, Matilda?
But there, my lass, we'll let that pass!
With anxious love I burn, Matilda.
I want to know if we shall go
To church when I return, Matilda?
Your eyes are red, you bow your head;
It's pretty clear you thirst, Matilda,
To name the day What's that you say?
- "You'll see me further first," Matilda?
I can't mistake the signs you make,
Although you barely speak, Matilda;
Though pure and young, you thrust your tongue
Right in your pretty cheek, Matilda!
My dear, I fear I hear you sneer -
I do I'm sure I do, Matilda!
With simple grace you make a face,
Ejaculating, "Ugh!" Matilda.
Oh, pause to think before you drink
The dregs of Lethe's cup, Matilda!
Remember, do, what I've gone through,
Before you give me up, Matilda!
Recall again the mental pain
Of what I've had to do, Matilda!
And be assured that I've endured
It, all along of you, Matilda!
Do you forget, my blithesome pet,
How once with jealous rage, Matilda,
I watched you walk and gaily talk
With some one thrice your age, Matilda?
You squatted free upon his knee,
A sight that made me sad, Matilda!
You pinched his cheek with friendly tweak,
Which almost drove me mad, Matilda!
I knew him not, but hoped to spot
Some man you thought to wed, Matilda!
I took a gun, my darling one,
And shot him through the head, Matilda!
I'm made of stuff that's rough and gruff
Enough, I own; but, ah, Matilda!
It DID annoy your sailor boy
To find it was your pa, Matilda!
I've passed a life of toil and strife,
And disappointments deep, Matilda;
I've lain awake with dental ache
Until I fell asleep, Matilda!
At times again I've missed a train,
Or p'rhaps run short of tin, Matilda,
And worn a boot on corns that shoot,
Or, shaving, cut my chin, Matilda.
But, oh! no trains no dental pains -
Believe me when I say, Matilda,
No corns that shoot no pinching boot
Upon a summer day, Matilda -
It's my belief, could cause such grief
As that I've suffered for, Matilda,
My having shot in vital spot
Your old progenitor, Matilda.
Bethink you how I've kept the vow
I made one winter day, Matilda -
That, come what could, I never would
Remain too long away, Matilda.
And, oh! the crimes with which, at times,
I've charged my gentle mind, Matilda,
To keep the vow I made and now
You treat me so unkind, Matilda!
For when at sea, off Caribbee,
I felt my passion burn, Matilda,
By passion egged, I went and begged
The captain to return, Matilda.
And when, my pet, I couldn't get
That captain to agree, Matilda,
Right through a sort of open port
I pitched him in the sea, Matilda!
Remember, too, how all the crew
With indignation blind, Matilda,
Distinctly swore they ne'er before
Had thought me so unkind, Matilda.
And how they'd shun me one by one -
An unforgiving group, Matilda -
I stopped their howls and sulky scowls
By pizening their soup, Matilda!
So pause to think, before you drink
The dregs of Lethe's cup, Matilda;
Remember, do, what I've gone through,
Before you give me up, Matilda.
Recall again the mental pain
Of what I've had to do, Matilda,
And be assured that I've endured
It, all along of you, Matilda!