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 David Rorie M.D.. 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 David Rorie M.D.. 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: The burn was big wi' spate,
An' there cam' tum'lin' doon
Tapsalteerie the half o' a gate,
Wi' an auld fish-hake an' a great muckle skate,
An' a lum hat wantin' the croon!
The auld wife stude on the bank
As they gaed swirlin' roun',
She took a gude look an' syne says she:
"There's food an' there's firin' gaun to the sea,
An' a lum hat wantin' the croon!"
Sae she gruppit the branch o' a saugh,
An' she kickit aff ane o' her shoon,
An' she stuck oot her fit-but it caught in the gate,
An' awa' she went wi' the great muckle skate,
An' the lum hat wantin' the croon!
She floatit fu' mony a mile,
Past cottage an' village an' toon,
She'd an awfu' time astride o' the gate,
Though it seemed to gree fine wi' the great muckle skate,
An' the lum hat wantin' the croon!
A fisher was walkin' the deck,
By the licht o' his pipe an' the mune,
When he sees an auld body astride o' a gate,
Come bobbin' alang in the waves wi' a skate,
An' a lum hat wantin' the croon!
"There's a man overboord!" cries he,
"Ye leear!" says she, "I'll droon!
A man on a boord! It's a wife on a gate,
It's auld Mistress Mackintosh here wi' a skate,
An' a lum hat wantin' the croon!"
Was she nippit to death at the Pole?
Has India bakit her broon?
I canna tell that, but whatever her fate,
I'll wager ye'll find it was shared by a skate,
An' a lum hat wantin' the croon!
There's a moral attached to my sang,
On greed ye should aye gie a froon,
When ye think o' the wife that was lost for a gate,
An' auld fish-hake an' a great muckle skate,
An' a lum hat wantin' the croon!