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 Gilbert Keith Chesterton. 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 Gilbert Keith Chesterton. 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: Impetuously I sprang from bed,
Long before lunch was up,
That I might drain the dizzy dew
From day's first golden cup.
In swift devouring ecstacy
Each toil in turn was done;
I had done lying on the lawn
Three minutes after one.
For me, as Mr. Wordsworth says,
The duties shine like stars;
I formed my uncle's character,
Decreasing his cigars.
But could my kind engross me? No!
Stern Art--what sons escape her?
Soon I was drawing Gladstone's nose
On scraps of blotting paper.
Then on--to play one-fingered tunes
Upon my aunt's piano.
In short, I have a headlong soul,
I much resemble Hanno.
(Forgive the entrance of the not
Too cogent Carthaginian.
It may have been to make a rhyme;
I lean to that opinion).
Then my great work of book research
Till dusk I took in hand--
The forming of a final, sound
Opinion on _The Strand_.
But when I quenched the midnight oil,
And closed _The Referee_,
Whose thirty volumes folio
I take to bed with me,
I had a rather funny dream,
Intense, that is, and mystic;
I dreamed that, with one leap and yell,
The world became artistic.
The Shopmen, when their souls were still,
Declined to open shops--
And Cooks recorded frames of mind
In sad and subtle chops.
The stars were weary of routine:
The trees in the plantation
Were growing every fruit at once,
In search of a sensation.
The moon went for a moonlight stroll,
And tried to be a bard,
And gazed enraptured at itself:
I left it trying hard.
The sea had nothing but a mood
Of 'vague ironic gloom,'
With which t'explain its presence in
My upstairs drawing-room.
The sun had read a little book
That struck him with a notion:
He drowned himself and all his fires
Deep in the hissing ocean.
Then all was dark, lawless, and lost:
I heard great devilish wings:
I knew that Art had won, and snapt
The Covenant of Things.
I cried aloud, and I awoke,
New labours in my head.
I set my teeth, and manfully
Began to lie in bed.
Toiling, rejoicing, sorrowing,
So I my life conduct.
Each morning see some task begun,
Each evening see it chucked.
But still, in sudden moods of dusk,
I hear those great weird wings,
Feel vaguely thankful to the vast
Stupidity of things.