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 Ralph Waldo Emerson. 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 Ralph Waldo Emerson. 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: READ IN MUSIC HALL, JANUARY 1, 1863
The word of the Lord by night
To the watching Pilgrims came,
As they sat by the seaside,
And filled their hearts with flame.
God said, I am tired of kings,
I suffer them no more;
Up to my ear the morning brings
The outrage of the poor.
Think ye I made this ball
A field of havoc and war,
Where tyrants great and tyrants small
Might harry the weak and poor?
My angel,--his name is Freedom,--
Choose him to be your king;
He shall cut pathways east and west
And fend you with his wing.
Lo! I uncover the land
Which I hid of old time in the West,
As the sculptor uncovers the statue
When he has wrought his best;
I show Columbia, of the rocks
Which dip their foot in the seas
And soar to the air-borne flocks
Of clouds and the boreal fleece.
I will divide my goods;
Call in the wretch and slave:
None shall rule but the humble.
And none but Toil shall have.
I will have never a noble,
No lineage counted great;
Fishers and choppers and ploughmen
Shall constitute a state.
Go, cut down trees in the forest
And trim the straightest boughs;
Cut down trees in the forest
And build me a wooden house.
Call the people together,
The young men and the sires,
The digger in the harvest-field,
Hireling and him that hires;
And here in a pine state-house
They shall choose men to rule
In every needful faculty,
In church and state and school.
Lo, now! if these poor men
Can govern the land and sea
And make just laws below the sun,
As planets faithful be.
And ye shall succor men;
'Tis nobleness to serve;
Help them who cannot help again:
Beware from right to swerve.
I break your bonds and masterships,
And I unchain the slave:
Free be his heart and hand henceforth
As wind and wandering wave.
I cause from every creature
His proper good to flow:
As much as he is and doeth,
So much he shall bestow.
But, laying hands on another
To coin his labor and sweat,
He goes in pawn to his victim
For eternal years in debt.
To-day unbind the captive,
So only are ye unbound;
Lift up a people from the dust,
Trump of their rescue, sound!
Pay ransom to the owner
And fill the bag to the brim.
Who is the owner? The slave is owner,
And ever was. Pay him.
O North! give him beauty for rags,
And honor, O South! for his shame;
Nevada! coin thy golden crags
With Freedom's image and name.
Up! and the dusky race
That sat in darkness long,--
Be swift their feet as antelopes.
And as behemoth strong.
Come, East and West and North,
By races, as snow-flakes,
And carry my purpose forth,
Which neither halts nor shakes.
My will fulfilled shall be,
For, in daylight or in dark,
My thunderbolt has eyes to see
His way home to the mark.