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 Robert Burns. 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 Robert Burns. 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: Orthodox, orthodox,
Wha believe in John Knox,
Let me sound an alarm to your conscience:
There's a heretic blast
Has been blawn in the wast,
That what is no sense must be nonsense.
Dr. Mac,[2] Dr. Mac,
You should stretch on a rack,
To strike evil doers wi' terror;
To join faith and sense
Upon ony pretence,
Is heretic, damnable error.
Town of Ayr, town of Ayr,
It was mad, I declare,
To meddle wi' mischief a-brewing;
Provost John[78] is still deaf
To the church's relief,
And orator Bob[3] is its ruin.
D'rymple mild,[4] D'rymple mild,
Thro' your heart's like a child,
And your life like the new driven snaw,
Yet that winna save ye,
Auld Satan must hav ye,
For preaching that three's ane an' twa.
Rumble John,[5] Rumble John,
Mount the steps wi' a groan,
Cry the book is wi' heresy cramm'd;
Then lug out your ladle,
Deal brimstone like adle,
And roar every note of the danm'd.
Simper James,[6] Simper James,
Leave the fair Killie dames,
There's a holier chase in your view;
I'll lay on your head
That the pack ye'll soon lead.
For puppies like you there's but few.
Singet Sawney,[7] Singet Sawney,
Are ye herding the penny,
Unconscious what evil await?
Wi' a jump, yell, and howl,
Alarm every soul,
For the foul thief is just at your gate.
Daddy Auld,[8] Daddy Auld,
There's a tod in the fauld,
A tod meikle waur than the clerk;
Though yo can do little skaith,
Ye'll be in at the death,
And gif ye canna bite, ye may bark.
Davie Bluster,[9] Davie Bluster,
If for a saint ye do muster,
The corps is no nice of recruits;
Yet to worth let's be just,
Royal blood ye might boast,
If the ass was the king of the brutes.
Jamy Goose,[10] Jamy Goose,
Ye ha'e made but toom roose,
In hunting the wicked lieutenant;
But the Doctor's your mark,
For the L--d's haly ark;
He has cooper'd and cawd a wrang pin in't.
Poet Willie,[11] Poet Willie,
Fie the Doctor a volley,
Wi' your liberty's chain and your wit;
O'er Pegasus' side
Ye ne'er laid astride,
Ye but smelt, man, the place where he ----.
Andro Gouk,[12], Andro Gouk,
Ye may slander the book,
And the book not the waur, let me tell ye;
Ye are rich and look big,
But lay by hat and wig,
And ye'll ha'e a calf's head o' sma' value.
Barr Steenie,[13] Barr Steenie,
What mean ye, what mean ye?
If ye'll meddle nae mair wi' the matter,
Ye may ha'e some pretence
To havins and sense,
Wi' people wha ken ye nae better.
Irvine side,[14] Irvine side,
Wi' your turkey-cock pride,
Of manhood but sum' is your share,
Ye've the figure 'tis true,
Even your faes will allow,
And your friends they dae grunt you nae mair.
Muirland Jock,[15] Muirland Jock,
When the L--d makes a rock
To crush Common sense for her sins,
If ill manners were wit,
There's no mortal so fit
To confound the poor Doctor at ance.
Holy Will,[16] Holy Will,
There was wit i' your skull,
When ye pilfer'd the alms o' the poor;
The timmer is scant,
When ye're ta'en for a saunt,
Wha should swing in a rape for an hour.
Calvin's sons, Calvin's sons,
Seize your spir'tual guns,
Ammunition you never can need;
Your hearts are the stuff,
Will be powther enough,
And your skulls are storehouses o' lead.
Poet Burns, Poet Burns,
Wi' your priest-skelping turns,
Why desert ye your auld native shire?
Your muse is a gipsie,
E'en tho' she were tipsie,
She could ca' us nae waur than we are.