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 John Greenleaf Whittier. 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 John Greenleaf Whittier. 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: Once more, dear friends, you meet beneath
A clouded sky
Not yet the sword has found its sheath,
And on the sweet spring airs the breath
Of war floats by.
Yet trouble springs not from the ground,
Nor pain from chance;
The Eternal order circles round,
And wave and storm find mete and bound
In Providence.
Full long our feet the flowery ways
Of peace have trod,
Content with creed and garb and phrase:
A harder path in earlier days
Led up to God.
Too cheaply truths, once purchased dear,
Are made our own;
Too long the world has smiled to hear
Our boast of full corn in the ear
By others sown;
To see us stir the martyr fires
Of long ago,
And wrap our satisfied desires
In the singed mantles that our sires
Have dropped below.
But now the cross our worthies bore
On us is laid;
Profession's quiet sleep is o'er,
And in the scale of truth once more
Our faith is weighed.
The cry of innocent blood at last
Is calling down
An answer in the whirlwind-blast,
The thunder and the shadow cast
From Heaven's dark frown.
The land is red with judgments. Who
Stands guiltless forth?
Have we been faithful as we knew,
To God and to our brother true,
To Heaven and Earth.
How faint, through din of merchandise
And count of gain,
Have seemed to us the captive's cries!
How far away the tears and sighs
Of souls in pain!
This day the fearful reckoning comes
To each and all;
We hear amidst our peaceful homes
The summons of the conscript drums,
The bugle's call.
Our path is plain; the war-net draws
Round us in vain,
While, faithful to the Higher Cause,
We keep our fealty to the laws
Through patient pain.
The levelled gun, the battle-brand,
We may not take
But, calmly loyal, we can stand
And suffer with our suffering land
For conscience' sake.
Why ask for ease where all is pain?
Shall we alone
Be left to add our gain to gain,
When over Armageddon's plain
The trump is blown?
To suffer well is well to serve;
Safe in our Lord
The rigid lines of law shall curve
To spare us; from our heads shall swerve
Its smiting sword.
And light is mingled with the gloom,
And joy with grief;
Divinest compensations come,
Through thorns of judgment mercies bloom
In sweet relief.
Thanks for our privilege to bless,
By word and deed,
The widow in her keen distress,
The childless and the fatherless,
The hearts that bleed!
For fields of duty, opening wide,
Where all our powers
Are tasked the eager steps to guide
Of millions on a path untried:
THE SLAVE IS OURS!
Ours by traditions dear and old,
Which make the race
Our wards to cherish and uphold,
And cast their freedom in the mould
Of Christian grace.
And we may tread the sick-bed floors
Where strong men pine,
And, down the groaning corridors,
Pour freely from our liberal stores
The oil and wine.
Who murmurs that in these dark days
His lot is cast?
God's hand within the shadow lays
The stones whereon His gates of praise
Shall rise at last.
Turn and o'erturn, O outstretched Hand
Nor stint, nor stay;
The years have never dropped their sand
On mortal issue vast and grand
As ours to-day.
Already, on the sable ground
Of man's despair
Is Freedom's glorious picture found,
With all its dusky hands unbound
Upraised in prayer.
Oh, small shall seem all sacrifice
And pain and loss,
When God shall wipe the weeping eyes,
For suffering give the victor's prize,
The crown for cross.