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 Friedrich Schiller. 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 Friedrich Schiller. 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: PUPIL.
I am rejoiced, worthy sirs, to find you in pleno assembled;
For I have come down below, seeking the one needful thing.
ARISTOTLE.
Quick to the point, my good friend! For the Jena Gazette comes to hand here,
Even in hell, so we know all that is passing above.
PUPIL.
So much the better! So give me (I will not depart hence without it)
Some good principle now, one that will always avail!
FIRST PHILOSOPHER.
Cogito, ergo sum. I have thought, and therefore existence!
If the first be but true, then is the second one sure.
PUPIL.
As I think, I exist. 'Tis good! But who always is thinking?
Oft I've existed e'en when I have been thinking of naught.
SECOND PHILOSOPHER.
Since there are things that exist, a thing of all things there must needs be;
In the thing of all things dabble we, just as we are.
THIRD PHILOSOPHER.
Just the reverse, say I. Besides myself there is nothing;
Everything else that there is is but a bubble to me.
FOURTH PHILOSOPHER.
Two kinds of things I allow to exist, the world and the spirit;
Naught of others I know; even these signify one.
FIFTH PHILOSOPHER.
I know naught of the thing, and know still less of the spirit;
Both but appear unto me; yet no appearance they are.
SIXTH PHILOSOPHER.
I am I, and settle myself, and if I then settle
Nothing to be, well and good there's a nonentity formed.
SEVENTH PHILOSOPHER.
There is conception at least! A thing conceived there is, therefore;
And a conceiver as well, which, with conception, make three.
PUPIL.
All this nonsense, good sirs, won't answer my purpose a tittle:
I a real principle need, one by which something is fixed.
EIGHTH PHILOSOPHER.
Nothing is now to be found in the theoretical province;
Practical principles hold, such as: thou canst, for thou shouldst.
PUPIL.
If I but thought so! When people know no more sensible answer,
Into the conscience at once plunge they with desperate haste.
DAVID HUME.
Don't converse with those fellows! That Kant has turned them all crazy;
Speak to me, for in hell I am the same that I was.
LAW POINT.
I have made use of my nose for years together to smell with;
Have I a right to my nose that can be legally proved?
PUFFENDORF.
Truly a delicate point! Yet the first possession appeareth
In thy favor to tell; therefore make use of it still!
SCRUPLE OF CONSCIENCE.
Willingly serve I my friends; but, alas, I do it with pleasure;
Therefore I often am vexed that no true virtue I have.
DECISION.
As there is no other means, thou hadst better begin to despise them;
And with aversion, then, do that which thy duty commands.