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 Henry Kendall. 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 Henry Kendall. 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: Strange is the song, and the soul that is singing
Falters because of the vision it sees;
Voice that is not of the living is ringing
Down in the depths where the darkness is clinging,
Even when Noon is the lord of the leas,
Fast, like a curse, to the ghosts of the trees!
Here in a mist that is parted in sunder,
Half with the darkness and half with the day;
Face of a woman, but face of a wonder,
Vivid and wild as a flame of the thunder,
Flashes and fades, and the wail of the grey
Water is loud on the straits of the bay!
Father, whose years have been many and weary
Elder, whose life is as lovely as light
Shining in ways that are sterile and dreary
Tell me the name of this beautiful peri,
Flashing on me like the wonderful white
Star, at the meeting of morning and night.
Look to thy Saviour, and down on thy knee, man,
Lean on the Lord, as the Zebedee leaned;
Daughter of hell is the neighbour of thee, man
Lilith, of Adam the luminous leman!
Turn to the Christ to be succoured and screened,
Saved from the eyes of a marvellous fiend!
Serpent she is in the shape of a woman,
Brighter than woman, ineffably fair!
Shelter thyself from the splendour, and sue, man;
Light that was never a loveliness human
Lives in the face of this sinister snare,
Longing to strangle thy soul with her hair!
Lilith, who came to the father and bound him
Fast with her eyes in the first of the springs;
Lilith she is, but remember she drowned him,
Shedding her flood of gold tresses around him
Lulled him to sleep with the lyric she sings:
Melody strange with unspeakable things!
Low is her voice, but beware of it ever,
Swift bitter death is the fruit of delay;
Never was song of its beauty ah! never
Heard on the mountain, or meadow, or river,
Not of the night is it, not of the day
Fly from it, stranger, away and away.
Back on the hills are the blossom and feather,
Glory of noon is on valley and spire;
Here is the grace of magnificent weather,
Where is the woman from gulfs of the nether?
Where is the fiend with the face of desire?
Gone, with a cry, in miraculous fire!
Sound that was not of this world, or the spacious
Splendid blue heaven, has passed from the lea;
Dead is the voice of the devil audacious:
Only a dream is her music fallacious,
Here, in the song and the shadow of tree,
Down by the green and the gold of the sea.