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Chinese RMB or US dollars, respectively. Here are the
sample runs:

<Output>
Enter the exchange rate from dollars to RMB: 6.81
Enter 0 to convert dollars to RMB and 1 vice versa: 0
Enter the dollar amount: 100
$100.0 is 681.0 Yuan
<End Output>

<Output>
Enter the exchange rate from dollars to RMB: 6.81
Enter 0 to convert dollars to RMB and 1 vice versa: 1
Enter the RMB amount: 10000
10000.0 Yuan is $1468.43
<End Output>

<Output>
Enter the exchange rate from dollars to RMB: 6.81
Enter 0 to convert dollars to RMB and 1 vice versa: 5
Incorrect input
<End Output>

2
2. (10 pts) Write a program that prompts the user to enter an integer. If
the number is a multiple of 5, print HiFive. If the number is divisible
by 2 or 3, print Georgia. Here are the sample runs:

<Output>
Enter an integer: 6
Georgia
<End Output>

<Output>
Enter an integer: 15
HiFive Georgia
<End Output>

<Output>
Enter an integer: 25
HiFive
<End Output>

<Output>
Enter an integer: 1
<End Output>

3
Name:

Part III: Multiple Choice Questions: (1 pts each) (Please

circle your answers on paper first. After you finish the
test, enter your choices online to LiveLab. Log in and
click Take Instructor Assigned Quiz. Choose Quiz1. You
have 5 minutes to enter and submit the answers.)

1. The expression (int)(76.0252175 * 100) / 100 evaluates to .

a. 76
b. 76.0252175
c. 76.03
d. 76.02

#
2. What is y after the following switch statement?

int x = 0;
int y = 0;
switch (x + 1) {
case 0: y = 0;
case 1: y = 1;
default: y = -1
}

a. 2
b. 1
c. 0
d. -1

#
3. Assume x is 0. What is the output of the following statement?

if (x > 0)
System.out.print("x is greater than 0");
else if (x < 0)
System.out.print("x is less than 0");
else
System.out.print("x equals 0");

a. x is less than 0
b. x is greater than 0
c. x equals 0
d. None

4
4. Analyze the following code:

Code 1:

boolean even;

if (number % 2 == 0)
even = true;
else
even = false;

Code 2:

boolean even = (number % 2 == 0);

a. Code 2 has syntax errors.

b. Code 1 has syntax errors.
c. Both Code 1 and Code 2 have syntax errors.
d. Both Code 1 and Code 2 are correct, but Code 2 is better.

#
5. What is the output of the following switch statement?

char ch = 'a';

switch (ch) {
case 'a':
case 'A':
System.out.print(ch); break;
case 'b':
case 'B':
System.out.print(ch); break;
case 'c':
case 'C':
System.out.print(ch); break;
case 'd':
case 'D':
System.out.print(ch);
}

a. ab
b. a
c. aa
d. abc
e. abcd

5
#
6. What is x after evaluating

x = (2 > 3) ? 2 : 3;

a. 5
b. 2
c. 3
d. 4

#
7. Analyze the following code.

int x = 0;
if (x > 0);
{
System.out.println("x");
}

a. The value of variable x is always printed.

b. The symbol x is always printed twice.
c. The symbol x is always printed.
d. Nothing is printed because x > 0 is false.

#
8. To declare a constant MAX_LENGTH inside a method with value 99.98, you write

a. final double MAX_LENGTH = 99.98;

b. double MAX_LENGTH = 99.98;
c. final MAX_LENGTH = 99.98;
d. final float MAX_LENGTH = 99.98;

#
9. Which of the following is a constant, according to Java naming conventions?

a. read
b. MAX_VALUE
c. ReadInt
d. Test

#
10. What is y after the following switch statement is executed?

x = 3;
switch (x + 3) {
case 6: y = 0;
case 7: y = 1;
default: y += 1;
}

6
a. 1
b. 4
c. 3
d. 2
e. 0

#
11. Which of the following code displays the area of a circle if the radius is
positive.

a. if (radius <= 0) System.out.println(radius * radius * 3.14159);

b. if (radius != 0) System.out.println(radius * radius * 3.14159);
c. if (radius >= 0) System.out.println(radius * radius * 3.14159);
d. if (radius > 0) System.out.println(radius * radius * 3.14159);

Please double check your answer before clicking the Submit

button. Whatever submitted to LiveLab is FINAL and counted
for your grade.

Have you submitted your answer to LiveLib?

What is your score?

7
Sample Final Exam for CSCI 1302

FINAL EXAM AND COURSE OUTCOMES MATCHING

COURSE OUTCOMES
Upon successful completion of this course, students should be able to
1. understand OO concepts: encapsulation, inheritance, polymorphism, interfaces,
abstract classes
2. use Unified Modeling Language for design, analysis, and documentation
3. develop graphical user interfaces
4. develop event-driven programs
5. use file I/O and handle exceptions
6. design and implement OO programs

Here is a mapping of the final comprehensive exam against the course outcomes:

Question Matches outcomes

1 1
2 2
3 3, 4, 5
4 6, 7
5 1, 2, 3, 4, 5, 6, 7

1
 Name: CSCI 1302 Introduction to Programming
Covers chs8-19 Armstrong Atlantic State University
Final Exam Instructor: Dr. Y. Daniel Liang

Please note that the university policy prohibits giving the exam score by email. If you need to know your
final exam score, come to see me during my office hours next semester.

I pledge by honor that I will not discuss the contents of this exam with
anyone.
Signed by Date

1. Design and implement classes. (10 pts)

Design a class named Person and its two subclasses named Student and
Employee. Make Faculty and Staff subclasses of Employee. A person has a
name, address, phone number, and email address. A student has a class
status (freshman, sophomore, junior, or senior). Define the status as a
constant. An employee has an office, salary, and date hired. Define a
class named MyDate that contains the fields year, month, and day. A
faculty member has office hours and a rank. A staff member has a title.
Override the toString method in each class to display the class name
and the person's name.

Draw the UML diagram for the classes. Write the code for the Student
class only.

2
2. Design and use interfaces (10 pts)

Write a class named Octagon that extends GeometricObject

and implements the Comparable and Cloneable interfaces.
Assume that all eight sides of the octagon are of equal
size. The area can be computed using the following formula:
area = (2 + 4 / 2) * side * side

Draw the UML diagram that involves Octagon,

GeometricObject, Comparable, and Cloneable.

3
3. Design and create GUI applications (10 pts)

Write a Java applet to add two numbers from text fields, and
displays the result in a non-editable text field. Enable your applet
to run standalone with a main method. A sample run of the applet is
shown in the following figure.

4
4. Text I/O (10 pts)

Write a program that will count the number of characters (excluding

control characters '\r' and '\n'), words, and lines, in a file. Words
are separated by spaces, tabs, carriage return, or line-feed
characters. The file name should be passed as a command-line argument,
as shown in the following sample run.

5
5. Multiple Choice Questions: (1 pts each)
(1. Mark your answers on the sheet. 2. Login and click Take
Instructor Assigned Quiz for QFinal. 3. Submit it online
within 5 mins. 4. Close the Internet browser.)
1. describes the state of an object.

a. data fields
b. methods
c. constructors
d. none of the above

#
2. An attribute that is shared by all objects of the class is coded
using .
a. an instance variable
b. a static variable
c. an instance method
d. a static method

#
3. If a class named Student has no constructors defined explicitly,
the following constructor is implicitly provided.

a. public Student()
b. protected Student()
c. private Student()
d. Student()

#
4. If a class named Student has a constructor Student(String name)
defined explicitly, the following constructor is implicitly provided.

a. public Student()
b. protected Student()
c. private Student()
d. Student()
e. None

#
5. Suppose the xMethod() is invoked in the following constructor in
a class, xMethod() is in the class.

public MyClass() {
xMethod();
}

a. a static method
b. an instance method
c. a static method or an instance method

#
6. Suppose the xMethod() is invoked from a main method in a class as
follows, xMethod() is in the class.

public static void main(String[] args) {

6
 xMethod();
}

a. a static method
b. an instance method
c. a static or an instance method

#
7. What would be the result of attempting to compile and
run the following code?
public class Test {
static int x;

public static void main(String[] args){

System.out.println("Value is " + x);
}
}

a. The output "Value is 0" is printed.

b. An "illegal array declaration syntax" compiler error occurs.
c. A "possible reference before assignment" compiler error occurs.
d. A runtime error occurs, because x is not initialized.

#
8. Analyze the following code:

public class Test {

private int t;

public static void main(String[] args) {

Test test = new Test();
System.out.println(test.t);
}
}

a. The variable t is not initialized and therefore causes errors.

b. The variable t is private and therefore cannot be accessed in the
main method.
c. Since t is an instance variable, it cannot appear in the static
main method.
d. The program compiles and runs fine.

#
9. Suppose s is a string with the value "java". What will be
assigned to x if you execute the following code?

char x = s.charAt(4);

a. 'a'
b. 'v'
c. Nothing will be assigned to x, because the execution causes the
runtime error StringIndexOutofBoundsException.
d. None of the above.

#
10. What is the printout for the following code?

class Test {

7
 public static void main(String[] args) {
int[] x = new int[3];
System.out.println("x[0] is "+x[0]);
}
}

a. The program has a syntax error because the size of the array
wasn't specified when declaring the array.
b. The program has a runtime error because the array elements are
not initialized.
c. The program runs fine and displays x[0] is 0.
d. None of the above.

#
11. How can you get the word "abc" in the main method from the
following call?

java Test "+" 3 "abc" 2

a. args[0]
b. args[1]
c. args[2]
d. args[3]

#
12. Which code fragment would correctly identify the number of
arguments passed via the command line to a Java application,
excluding the name of the class that is being invoked?

a. int count = args.length;

b. int count = args.length - 1;
c. int count = 0; while (args[count] != null) count ++;
d. int count=0; while (!(args[count].equals(""))) count ++;

#
13. Show the output of running the class Test in the following code
lines:

interface A {
void print();
}

class C {}

class B extends C implements A {

public void print() { }
}

class Test {
public static void main(String[] args) {
B b = new B();
if (b instanceof A)
System.out.println("b is an instance of A");
if (b instanceof C)
System.out.println("b is an instance of C");
}
}

8
a. Nothing.
b. b is an instance of A.
c. b is an instance of C.
d. b is an instance of A followed by b is an instance of C.

#
14. When you implement a method that is defined in a superclass, you
the original method.
a. overload
b. override
c. copy
d. call

#
15. What modifier should you use on a variable so that it can only be
referenced inside its defining class.
a. public
b. private
c. protected
d. Use the default modifier.

#
16. What is the output of running class C?

class A {
public A() {
System.out.println(
"The default constructor of A is invoked");
}
}

class B extends A {
public B() {
System.out.println(
"The default constructor of B is invoked");
}
}

public class C {
public static void main(String[] args) {
B b = new B();
}
}

a. none
b. "The default constructor of B is invoked"
c. "The default constructor of A is invoked" followed by "The
default constructor of B is invoked"
d. "The default constructor of A is invoked"

#
17. Analyze the following program.

class Test {

9
 public static void main(String[] args) {
try {
String s = "5.6";
Integer.parseInt(s); // Cause a NumberFormatException

int i = 0;
int y = 2 / i;
System.out.println("Welcome to Java");
}
catch (Exception ex) {
System.out.println(ex);
}
}
}
a. An exception is raised due to Integer.parseInt(s);
b. An exception is raised due to 2 / i;
c. The program has a compilation error.
d. The program compiles and runs without exceptions.

#
18. What is displayed on the console when running the following
program?

class Test {
public static void main(String[] args) {
try {
System.out.println("Welcome to Java");
int i = 0; int y = 2/i;
System.out.println("Welcome to Java");
}
catch (RuntimeException ex) {
System.out.println("Welcome to Java");
}
finally {
System.out.println("End of the block");
}
}
}
a. The program displays Welcome to Java three times followed by End
of the block.
b. The program displays Welcome to Java two times followed by End of
the block.
c. The program displays Welcome to Java three times.
d. The program displays Welcome to Java two times.
#
19. To append data to an existing file, use to construct a
FileOutputStream for file out.dat.
a. new FileOutputStream("out.dat")
b. new FileOutputStream("out.dat", false)
c. new FileOutputStream("out.dat", true)
d. new FileOutputStream(true, "out.dat")

10
#
20. After the following program is finished, how many bytes are written to the
file t.dat?

import java.io.*;

public class Test {

public static void main(String[] args) throws IOException {
DataOutputStream output = new DataOutputStream(
new FileOutputStream("t.dat"));
output.writeShort(1234);
output.writeShort(5678);
output.close();
}
}
a. 2 bytes.
b. 4 bytes.
c. 8 bytes.
d. 16 bytes.

Have you submitted your answer to LiveLib?

11
Random documents with unrelated
content Scribd suggests to you:
Afternoon has fallen on this street,
Like an imbecilic organ-grinder
Grinning over his discords.
Dead men and women spin
Their miracles of motion
Upon the grayness of this street.
In this old Jew’s shop
A woman bargains over calico.
With a ghostly naïveté
She reprimands the price of her shroud.
In this pawn-shop stands a man
Parting with his clarinet.
He walks away, with dangling arms,
Like a swindled Gabriel.
In a lunchroom sits a woman
Whose face is a tired sin
Seeking comfort in religion.
A young girl near her is an angel
Puzzled by streaks of mud upon her face
And asking questions of her vanity.
Outside, dead men and women
Are whipped on by the explosive magic
Of an old, resistless masquerade.
Street-cars, wagons, and motor-trucks
Rattle their parodies on life,
And over all the afternoon
Twists, like an imbecilic organ-grinder
Snickering over his discords.
 III.

Night has thrown his ecstasy

Of staring, counterfeit eyes
Over the torrent of this street.
Men with faces quicker
And more furtive than time
Stand motionless in doorways.
Women stride down this street.
Many fingers have pulled their faces
To a haggard lack of expression.
They join the motionless men
In the doorways and disappear.
And over them the tame and ghastly coffins
Display their shamefaced grays and reds
Against the tangled vividness of night.
 LANDSCAPE

The countless vagaries of maple leaves,

Elastic humbleness of flowers and weeds,
The hill, a placid stoic to all creeds,
They use an obvious language that deceives
The subtle theories of human ears.
Their tongue is motion and they scorn the rhyme
And meter made by men to soothe their fears.

Beneath the warm strength of each August hour

They spurn cohesion and the plans of thought,
With quick simplicity that seems confused
Because it signals mystic whims that tower
Above the thoughts and loves that men have caught:
Beyond the futile words that men have used.
 COUNTRY GIRL

Your face is stencilled with a pensiveness.

Your face contains a minor lyric trapped
By dainty ignorance, and tamely capped
By hair as trimly lifeless as your dress.
You suffer from the drooling praise of old
And youthful men, who strive to win a blind
And soothing admiration from your mind,
And do not try to make your thoughts unfold.

This comedy would fade into a host

If it were not rewarded by the dead
But unrelenting poet on your face.
Your eyes are heavy with his reckless ghost:
The trouble of his hands is on your head
As you peer out into a clouded space.
 NONDESCRIPT TYPIST

Within an office whose exterior

Resembles an ultra-conservative mind
You battle with the avaricious words
Of a meager, petrified man.
Your face is brown stagnation
Sometimes astounded by a thrust
Of chattering wistfulness.
Bravery is fear
Effectively sneering at itself,
And you are forever wavering
Upon the edge of this condition.
Yet your obscurity
Is an important atom
In the mysterious march of time.
CONCERNING EMOTIONS
And if I say that pain is but
A circus barker whose loud cries
Seek to reward a trivial show,
Will you confess that I am wise?

“Must it be emotional?” you asked,

After I had thrown
Words into a carnival-scope.
Sobriety and merriment
Borrowed the sixteenth century
Within your voice, and sought
The identity of sternness—
Mental sternness pretending to ignore
The confetti thrown by emotion
In a carnival unique.

Emotions can be prancing curves

Fashioned by relaxing thoughts.
Should I kiss you, Questioner,
The delicate anti-climax
Of a mental caper
Might perish on crimson vapor!
Tired of frenzies and satiations
Emotions often wander to poets
And ask for more fantastic decisions
For fire that glows but does not burn.
 METAPHYSICAL ELIZABETH

They gave you strait-jackets to bore you.

Like an unwilling promise
Your legs were tied together.
But people can only violate
Their own conception of reality,
And your actual curves
Preserved their sculptural liberty.
Leaving their semblance on your flesh
Your lines sped inward till they gained
The center where emotion changes
To a speck of quivering clarity.

Within you phantoms of reality

Danced with plausibilities of mind,
Seeking to be consumed
By the oblivion which is understanding.
You feared that your return to motion
Would mean a succession of disappointments—
Tamely grazing arrows
Changed to wounds by the desiring heart
Take my hand and move.
Only two statues can stride together
In a manner invisible
Save to certain unreasonable adjustments
Of eyesight and of hearing.
DESCRIPTION AND EXHORTATION
Truly, this age will be known
As one of minute extremes
Courting an elderly shape
In a violent bar-room scene.
An Amazon made filthy by centuries,
And fuming pygmies, own the stage.
Thin furies of emotion
Name every color in the rainbow
Without its skillful assent,
And little mental skeletons
Stamp with clumsy weirdness
On effigies of the heart.
The pygmies often sneak
To the prancing Amazon
And the ensuing love-scene produces
Small memories of Walt Whitman.

This age is not metaphysical.

Followers of Dada,
Weary of electron-soliloquies
And fleshly ecstasies with flat feet,
Sit in the gallery
And throw loose malice at the display,
Evading their motives with an eager creed.

Concentrate your aim,

Followers of Dada.
 INEVITABLE

The insurrection of a flea

Compared to driving tusks
Of elephants, is just as strong.
Stupidity need not be long.

The insurrection of a flea

Attains philosophy and spice.
Fleas salt their eating with a creed
That warms the monotone of greed.

The insurrection of a flea

Will leave with tense insistence till
The suburbs of eternity.
O small fanatic on a spree.

The flea is poet in a land

That does not understand his lunge.
He makes his own immaculate laws
And awaits forever threatening claws.
THE NEGROES WHO TURNED WHITE
The souls of negroes, thrown into a shout,
Roll their hallelujahs out
To the flashing blandness of the sky.
The sky does not divide their cries
Into meanings foolish and wise:
To the sky all men have but one cry.
Still, amusement has often thrown
Separate shades upon the monotone,
Playing with the sleep of firm beliefs.
Amused, we give these negroes forms
Distinct and bounding under storms
Of sounds that catapult their joys and griefs.
A negro with his bald despair
Seduced by remnants of silver hair,
Converses with an old King known as God.
He longs to have his tortured stare
Rewarded with a golden chair
While other negroes thump the sod
With heavy echoes of his request.
With a cold, castrated zest
He pleads for rest, and he is bold,
While scientists and troubadours
Cling more closely to their floors.

“How d’yah kno-ow, how d’yah kno-o-ow

Dat the blood done sign mah na-a-ame?
Yes it’s so-o-o, yes it’s so-o-o,
Jesus wrote it down in fla-a-ame.”
The other negroes sing
With gliding fear, and swing
The child-like joke of their arms to emotions
That surge like an army searching for its eyes.
But suddenly a quick surprise
Tricks each negro’s face with fright—
Their skins are gleaming pink and white.
White philosophers and scientists
Strike each other with dubious fists
Within the negroes’ brains, while poets fight
Like blistered urchins wrapped in gloom.
Shrinking underneath the uproar
With its bursts of phantom gore,
The negroes shriek against their doom.
With bending celebration of knees
They crush against their leader’s pleas.

“Lord Almighty, make us black!

This strange noise strikes us on the back!
We has had enough of whips!
Calm this devil with your lips!”
 EXPRESSIONS ON A CHILD’S FACE

Dawn?—no, the hunted transparency of dawn

Curving from the white throat of a child
And shaken in the still cup of his face.
Then a sudden dispersal of swerving light
Carrying away the defeated
Wisdom of a smile.

Thought?—no, the persistent shudder

Of emotion that is almost thought.
The invisible recklessness of perfume
Enveloping the beginning of a question.

Sadness?—no, the growth of a dim inclination

To delve into the rancid importance of flesh:
Then weeping, to wash away
The ritual of disappointment.
PSYCHIC CLOWNS
First Clown
We gaze upon a negro shoveling coal.
His muscles fuse into a poem
Stifled and sinister,
Censuring the happy rhetoric of morning air.
Some day he will pitch the stretched simplicity
Of his tent upon the contented ruins
Of a civilization,
Playing with documents and bottles of perfume
Found in deserted, broken corridors.

Second Clown
The barbarous comedy
Lost in profuse confessions
And often described as life,
Lends an attitude of conviction
To the mechanical retreat of time.

First Clown
Do you hear beneath the irregular strut
Of this city an imperceptible groan?
Time is turning the jail-house key.
They build larger jails for time;
He makes larger keys of blood-stained iron.
Endlessly he emerges
From complicated delusions of freedom.

Second Clown
That desperately grotesque
 Wanton known as imagination
Can plunge beyond both men and time.
Imagination slips down
Upon the last edges of thought and feeling
And teaches them to transcend
The forlorn bravado of swinging legs and arms.

First Clown
We are two psychic clowns
Brandishing the poverty of words
Into insolent oddities of sound.
Come, men are waiting to nail us
Upon the crucifix of their little logics!
DEAR MINNA
Catastrophe in a bric-a-brac shop.
The proprietor lies murdered.
Pieces of cups, jars, and vases
Have attained the disorderly freedom
So obnoxious to bankrupt fanatics.
Once the cups, jars, and vases
Were symmetrical and empty,
And immersed in the task of holding nothing.
Now they have snatched a voice from fragments;
Spell many an accidental sentence;
Renounce the hollow lie.
Death, you take the stiffly obvious shapes
Of objects and crack them with your fingers—
A shattered invitation
To curiosity and anticipation—
And I am grateful to you for that.
My eyes grow weary scanning the living array.
Each man takes his inch upon the shelves
And will not move, until your paw
Robs him of microscopical convictions.

Dear Minna, read the newspapers

And gloat with me over death’s industry.
Banker, Freudian, Socialist,
Knocked from the shelves and changed
To symbols that can lure conjecture.
It is well that we are metaphysical.
Death must not become
A mere black frame surrounding
A mere black frame surrounding
The memorized reiterations.
Death must remain an irresistible
Beckoning to reckless speculations
And continue to offer an amorous arm
To the recalcitrant antics of words.
 VILLAGE CLERK

Rabelais and Maeterlinck

Have subsided to one grin
Upon your sharply cumbersome face.
Coarseness and a psychic hope
Dominate your voice
As you prattle to women
Purchasing sugar and salt.
Then your face and voice
Alter to a serious fraud
Eagerly learning the technique of deceptions,
As you answer this dryly emasculated
Grey-beard, discussing the tendencies in hogs.

When the night replenishes

Your store of morbid desires,
You will try to piece together
A cajoling violin
From your sweet-heart’s syllables,
Fumbling with hot hands for the unseen strings.
REALISM
Regard an American farm.
That jaded collaborator,
Daylight, has just arrived.
Wavy signal of smoke
From the wooden farm-house disappears
Beneath the bluely ascetic lack of interest.
Horses, pigs, and cows
Assemble their discontent.
The result is a Chinese orchestra
Devoid of discipline and cohesion,
With all of the players intoxicated.
The animals do not realize
That their voices should portray
The farmer in the angular house;
The hackneyed prose of his life;
The expanding soul of his corn-fields.
Turn from the absence of human wisdom
And see the lights in the farm-house.
Dimly circumscribed and steady,
They symbolize future events.
The farm-hand walks to the barn,
With an ox-like dragging of feet.
Black shirt, and overalls
Whose color has been removed by dirt,
Obscure the heavy knots of his body.
His cork-screw nose ascends
To the eyes of an unperturbed pig.
Love and hate to him
Are mouthfuls of coarse food hastily gulped
During lulls in his muscular slavery.
Beneath the slanting pungency
Of the barn he vanishes,
And with meaningless sounds
He pays his meager tribute to life.
Then the farmer persuades his age
To indulge in an unwilling stumble
Across the yard.
His grey beard is the end of a rope
That has gradually throttled his face.
Within him, avarice
Is awkwardly practising the rhythms
Of weak emotions benignly, belatedly
Preparing for celestial rewards.
Within the cluttered farm-yard
He stands, a figure of niggardly order.

Earth, the men who scrape at your flanks

Can never stop to examine
The thin line of speech that goes adventuring
Where your brown hills bite the sky.
AMERICAN VAUDEVILLE SHOW
This vacuous, clattering spectacle
Has collected the heart-beats of a nation.
Greed, like a gorged Machiavelli,
Slumps down in the green plush seat
And wonders whether it has not blundered,
While a sentimental song,
Like a kindly infant,
Interferes with the clink of coins.
Hatred, juvenile and deformed,
Earns the smirking oblivion
Of fat women mangling sound.
The wrangling babble of ignorance
Turns to silence underneath
The opium of innuendoes.
Acrobats appear and seem
To be raping phantom lovers
No longer beautiful and fresh
But mechanically endured.
Part of the audience is also
A battered stoic clasping worn-out mistresses.
Clog-dancers enervate
The thumping martyrs of their feet,
And chorus-girls offer the lines of their bodies
With whining voices.

Dreams are cheap, and green plush seats

Appropriately, snugly hold
The expensive hallucinations.
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