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 Dante Alighieri. 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 Dante Alighieri. 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: Call to remembrance, reader, if thou e'er
Hast, on a mountain top, been ta'en by cloud,
Through which thou saw'st no better, than the mole
Doth through opacous membrane; then, whene'er
The wat'ry vapours dense began to melt
Into thin air, how faintly the sun's sphere
Seem'd wading through them; so thy nimble thought
May image, how at first I re-beheld
The sun, that bedward now his couch o'erhung.
Thus with my leader's feet still equaling pace
From forth that cloud I came, when now expir'd
The parting beams from off the nether shores.
O quick and forgetive power! that sometimes dost
So rob us of ourselves, we take no mark
Though round about us thousand trumpets clang!
What moves thee, if the senses stir not? Light
Kindled in heav'n, spontaneous, self-inform'd,
Or likelier gliding down with swift illapse
By will divine. Portray'd before me came
The traces of her dire impiety,
Whose form was chang'd into the bird, that most
Delights itself in song: and here my mind
Was inwardly so wrapt, it gave no place
To aught that ask'd admittance from without.
Next shower'd into my fantasy a shape
As of one crucified, whose visage spake
Fell rancour, malice deep, wherein he died;
And round him Ahasuerus the great king,
Esther his bride, and Mordecai the just,
Blameless in word and deed. As of itself
That unsubstantial coinage of the brain
Burst, like a bubble, Which the water fails
That fed it; in my vision straight uprose
A damsel weeping loud, and cried, "O queen!
O mother! wherefore has intemperate ire
Driv'n thee to loath thy being? Not to lose
Lavinia, desp'rate thou hast slain thyself.
Now hast thou lost me. I am she, whose tears
Mourn, ere I fall, a mother's timeless end."
E'en as a sleep breaks off, if suddenly
New radiance strike upon the closed lids,
The broken slumber quivering ere it dies;
Thus from before me sunk that imagery
Vanishing, soon as on my face there struck
The light, outshining far our earthly beam.
As round I turn'd me to survey what place
I had arriv'd at, "Here ye mount," exclaim'd
A voice, that other purpose left me none,
Save will so eager to behold who spake,
I could not choose but gaze. As 'fore the sun,
That weighs our vision down, and veils his form
In light transcendent, thus my virtue fail'd
Unequal. "This is Spirit from above,
Who marshals us our upward way, unsought;
And in his own light shrouds him. As a man
Doth for himself, so now is done for us.
For whoso waits imploring, yet sees need
Of his prompt aidance, sets himself prepar'd
For blunt denial, ere the suit be made.
Refuse we not to lend a ready foot
At such inviting: haste we to ascend,
Before it darken: for we may not then,
Till morn again return." So spake my guide;
And to one ladder both address'd our steps;
And the first stair approaching, I perceiv'd
Near me as 'twere the waving of a wing,
That fann'd my face and whisper'd: "Blessed they
The peacemakers: they know not evil wrath."
Now to such height above our heads were rais'd
The last beams, follow'd close by hooded night,
That many a star on all sides through the gloom
Shone out. "Why partest from me, O my strength?"
So with myself I commun'd; for I felt
My o'ertoil'd sinews slacken. We had reach'd
The summit, and were fix'd like to a bark
Arriv'd at land. And waiting a short space,
If aught should meet mine ear in that new round,
Then to my guide I turn'd, and said: "Lov'd sire!
Declare what guilt is on this circle purg'd.
If our feet rest, no need thy speech should pause."
He thus to me: "The love of good, whate'er
Wanted of just proportion, here fulfils.
Here plies afresh the oar, that loiter'd ill.
But that thou mayst yet clearlier understand,
Give ear unto my words, and thou shalt cull
Some fruit may please thee well, from this delay.
"Creator, nor created being, ne'er,
My son," he thus began, "was without love,
Or natural, or the free spirit's growth.
Thou hast not that to learn. The natural still
Is without error; but the other swerves,
If on ill object bent, or through excess
Of vigour, or defect. While e'er it seeks
The primal blessings, or with measure due
Th' inferior, no delight, that flows from it,
Partakes of ill. But let it warp to evil,
Or with more ardour than behooves, or less.
Pursue the good, the thing created then
Works 'gainst its Maker. Hence thou must infer
That love is germin of each virtue in ye,
And of each act no less, that merits pain.
Now since it may not be, but love intend
The welfare mainly of the thing it loves,
All from self-hatred are secure; and since
No being can be thought t' exist apart
And independent of the first, a bar
Of equal force restrains from hating that.
"Grant the distinction just; and it remains
The' evil must be another's, which is lov'd.
Three ways such love is gender'd in your clay.
There is who hopes (his neighbour's worth deprest,)
Preeminence himself, and coverts hence
For his own greatness that another fall.
There is who so much fears the loss of power,
Fame, favour, glory (should his fellow mount
Above him), and so sickens at the thought,
He loves their opposite: and there is he,
Whom wrong or insult seems to gall and shame
That he doth thirst for vengeance, and such needs
Must doat on other's evil. Here beneath
This threefold love is mourn'd. Of th' other sort
Be now instructed, that which follows good
But with disorder'd and irregular course.
"All indistinctly apprehend a bliss
On which the soul may rest, the hearts of all
Yearn after it, and to that wished bourn
All therefore strive to tend. If ye behold
Or seek it with a love remiss and lax,
This cornice after just repenting lays
Its penal torment on ye. Other good
There is, where man finds not his happiness:
It is not true fruition, not that blest
Essence, of every good the branch and root.
The love too lavishly bestow'd on this,
Along three circles over us, is mourn'd.
Account of that division tripartite
Expect not, fitter for thine own research."