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 Walt Whitman. 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 Walt Whitman. 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 sing the Body electric;
The armies of those I love engirth me, and I engirth them;
They will not let me off till I go with them, respond to them,
And discorrupt them, and charge them full with the charge of the Soul.
Was it doubted that those who corrupt their own bodies conceal themselves;
And if those who defile the living are as bad as they who defile the dead?
And if the body does not do as much as the Soul?
And if the body were not the Soul, what is the Soul?
The love of the Body of man or woman balks account - the body itself balks account;
That of the male is perfect, and that of the female is perfect.
The expression of the face balks account;
But the expression of a well-made man appears not only in his face;
It is in his limbs and joints also, it is curiously in the joints of his hips and wrists;
It is in his walk, the carriage of his neck, the flex of his waist and knees - dress does not hide him;
The strong, sweet, supple quality he has, strikes through the cotton and flannel;
To see him pass conveys as much as the best poem, perhaps more;
You linger to see his back, and the back of his neck and shoulder-side.
The sprawl and fulness of babes, the bosoms and heads of women, the folds of their dress, their style as we pass in the street, the contour of their shape downwards,
The swimmer naked in the swimming-bath, seen as he swims through the transparent green-shine, or lies with his face up, and rolls silently to and fro in the heave of the water,
The bending forward and backward of rowers in row-boats - the horseman in his saddle,
Girls, mothers, house-keepers, in all their performances,
The group of laborers seated at noon-time with their open dinner-kettles, and their wives waiting,
The female soothing a child - the farmer's daughter in the garden or cow-yard,
The young fellow hoeing corn - the sleigh-driver guiding his six horses through the crowd,
The wrestle of wrestlers, two apprentice-boys, quite grown, lusty, good-natured, native-born, out on the vacant lot at sundown, after work,
The coats and caps thrown down, the embrace of love and resistance,
The upper-hold and the under-hold, the hair rumpled over and blinding the eyes;
The march of firemen in their own costumes, the play of masculine muscle through clean-setting trowsers and waist-straps,
The slow return from the fire, the pause when the bell strikes suddenly again, and the listening on the alert,
The natural, perfect, varied attitudes - the bent head, the curv'd neck, and the counting;
Such-like I love - I loosen myself, pass freely, am at the mother's breast with the little child,
Swim with the swimmers, wrestle with wrestlers, march in line with the firemen, and pause, listen, and count.
I know a man, a common farmer - the father of five sons;
And in them were the fathers of sons - and in them were the fathers of sons.
This man was of wonderful vigor, calmness, beauty of person;
The shape of his head, the pale yellow and white of his hair and beard, and the immeasurable meaning of his black eyes - the richness and breadth of his manners,
These I used to go and visit him to see - he was wise also;
He was six feet tall, he was over eighty years old - his sons were massive, clean, bearded, tan-faced, handsome;
They and his daughters loved him - all who saw him loved him;
They did not love him by allowance - they loved him with personal love;
He drank water only - the blood show'd like scarlet through the clear-brown skin of his face;
He was a frequent gunner and fisher - he sail'd his boat himself - he had a fine one presented to him by a ship-joiner - he had fowling-pieces, presented to him by men that loved him;
When he went with his five sons and many grand-sons to hunt or fish, you would pick him out as the most beautiful and vigorous of the gang.
You would wish long and long to be with him - you would wish to sit by him in the boat, that you and he might touch each other.
I have perceiv'd that to be with those I like is enough,
To stop in company with the rest at evening is enough,
To be surrounded by beautiful, curious, breathing, laughing flesh is enough,
To pass among them, or touch any one, or rest my arm ever so lightly round his or her neck for a moment - what is this, then?
I do not ask any more delight - I swim in it, as in a sea.
There is something in staying close to men and women, and looking on them, and in the contact and odor of them, that pleases the soul well;
All things please the soul - but these please the soul well.
This is the female form;
A divine nimbus exhales from it from head to foot;
It attracts with fierce undeniable attraction!
I am drawn by its breath as if I were no more than a helpless vapor - all falls aside but myself and it;
Books, art, religion, time, the visible and solid earth, the atmosphere and the clouds, and what was expected of heaven or fear'd of hell, are now consumed;
Mad filaments, ungovernable shoots play out of it - the response likewise ungovernable;
Hair, bosom, hips, bend of legs, negligent falling hands, all diffused - mine too diffused;
Ebb stung by the flow, and flow stung by the ebb - love-flesh swelling and deliciously aching;
Limitless limpid jets of love hot and enormous, quivering jelly of love, white-blow and delirious juice;
Bridegroom night of love, working surely and softly into the prostrate dawn;
Undulating into the willing and yielding day,
Lost in the cleave of the clasping and sweet-flesh'd day.
This is the nucleus - after the child is born of woman, the man is born of woman;
This is the bath of birth - this is the merge of small and large, and the outlet again.
Be not ashamed, women - your privilege encloses the rest, and is the exit of the rest;
You are the gates of the body, and you are the gates of the soul.
The female contains all qualities, and tempers them - she is in her place, and moves with perfect balance;
She is all things duly veil'd - she is both passive and active;
She is to conceive daughters as well as sons, and sons as well as daughters.
As I see my soul reflected in nature;
As I see through a mist, one with inexpressible completeness and beauty,
See the bent head, and arms folded over the breast - the female I see.
The male is not less the soul, nor more - he too is in his place;
He too is all qualities - he is action and power;
The flush of the known universe is in him;
Scorn becomes him well, and appetite and defiance become him well;
The wildest largest passions, bliss that is utmost, sorrow that is utmost, become him well - pride is for him;
The full-spread pride of man is calming and excellent to the soul;
Knowledge becomes him - he likes it always - he brings everything to the test of himself;
Whatever the survey, whatever the sea and the sail, he strikes soundings at last only here;
(Where else does he strike soundings, except here?)
The man's body is sacred, and the woman's body is sacred;
No matter who it is, it is sacred;
Is it a slave? Is it one of the dull-faced immigrants just landed on the wharf?
Each belongs here or anywhere, just as much as the well-off - just as much as you;
Each has his or her place in the procession.
(All is a procession;
The universe is a procession, with measured and beautiful motion.)
Do you know so much yourself, that you call the slave or the dull-face ignorant?
Do you suppose you have a right to a good sight, and he or she has no right to a sight?
Do you think matter has cohered together from its diffuse float - and the soil is on the surface, and water runs, and vegetation sprouts,
For you only, and not for him and her?
A man's Body at auction;
I help the auctioneer - the sloven does not half know his business.
Gentlemen, look on this wonder!
Whatever the bids of the bidders, they cannot be high enough for it;
For it the globe lay preparing quintillions of years, without one animal or plant;
For it the revolving cycles truly and steadily roll'd.
In this head the all-baffling brain;
In it and below it, the makings of heroes.
Examine these limbs, red, black, or white - they are so cunning in tendon and nerve;
They shall be stript, that you may see them.
Exquisite senses, life-lit eyes, pluck, volition,
Flakes of breast-muscle, pliant back-bone and neck, flesh not flabby, good-sized arms and legs,
And wonders within there yet.
Within there runs blood,
The same old blood!
The same red-running blood!
There swells and jets a heart - there all passions, desires,
reachings, aspirations; 110
Do you think they are not there because they are not express'd in parlors and lecture-rooms?
This is not only one man - this is the father of those who shall be fathers in their turns;
In him the start of populous states and rich republics;
Of him countless immortal lives, with countless embodiments and enjoyments.
How do you know who shall come from the offspring of his offspring through the centuries?
Who might you find you have come from yourself, if you could trace back through the centuries?
A woman's Body at auction!
She too is not only herself - she is the teeming mother of mothers;
She is the bearer of them that shall grow and be mates to the mothers.
Have you ever loved the Body of a woman?
Have you ever loved the Body of a man?
Your father - where is your father?
Your mother - is she living? have you been much with her? and has she been much with you?
Do you not see that these are exactly the same to all, in all nations and times, all over the earth?
If any thing is sacred, the human body is sacred,
And the glory and sweet of a man, is the token of manhood untainted;
And in man or woman, a clean, strong, firm-fibred body, is beautiful as the most beautiful face.
Have you seen the fool that corrupted his own live body? or the fool that corrupted her own live body?
For they do not conceal themselves, and cannot conceal themselves.
O my Body! I dare not desert the likes of you in other men and women, nor the likes of the parts of you;
I believe the likes of you are to stand or fall with the likes of the Soul, (and that they are the Soul;)
I believe the likes of you shall stand or fall with my poems - and that they are poems,
Man's, woman's, child's, youth's, wife's, husband's, mother's, father's, young man's, young woman's poems;
Head, neck, hair, ears, drop and tympan of the ears,
Eyes, eye-fringes, iris of the eye, eye-brows, and the waking or sleeping of the lids,
Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges,
Nose, nostrils of the nose, and the partition,
Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue,
Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest.
Upper-arm, arm-pit, elbow-socket, lower-arm, arm-sinews, arm-bones,
Wrist and wrist-joints, hand, palm, knuckles, thumb, fore-finger, finger-balls, finger-joints, finger-nails,
Broad breast-front, curling hair of the breast, breast-bone, breast-side,
Ribs, belly, back-bone, joints of the back-bone,
Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root,
Strong set of thighs, well carrying the trunk above,
Leg-fibres, knee, knee-pan, upper-leg, under leg,
Ankles, instep, foot-ball, toes, toe-joints, the heel;
All attitudes, all the shapeliness, all the belongings of my or your body, or of any one's body, male or female,
The lung-sponges, the stomach-sac, the bowels sweet and clean,
The brain in its folds inside the skull-frame,
Sympathies, heart-valves, palate-valves, sexuality, maternity,
Womanhood, and all that is a woman - and the man that comes from woman,
The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings,
The voice, articulation, language, whispering, shouting aloud,
Food, drink, pulse, digestion, sweat, sleep, walking, swimming,
Poise on the hips, leaping, reclining, embracing, arm-curving and tightening,
The continual changes of the flex of the mouth, and around the eyes,
The skin, the sun-burnt shade, freckles, hair,
The curious sympathy one feels, when feeling with the hand the naked meat of the body,
The circling rivers, the breath, and breathing it in and out,
The beauty of the waist, and thence of the hips, and thence downward toward the knees,
The thin red jellies within you, or within me - the bones, and the marrow in the bones,
The exquisite realization of health;
O I say, these are not the parts and poems of the Body only, but of the Soul,
O I say now these are the Soul!