The Hundred Poets, Part III

	Number: 43 Poet: Gonchûnagon Atsutada (権中納言敦忠), who is also known as Fujiwara no Atsutada Scene: Gonchûnagon Atsutada standing by a screen receiving a message from a page Robinson: S19.43 The poem translates: I have met my love. When I compare this present With feelings of the past, My passion is now as if I have never loved before.
	Number: 44 Poet: Chûnagon Asatada (中納言朝忠), who is also known as Fujiwara no Asatada Scene: Chûnagon Asatada kneeling on the veranda of a palace while painting his teeth black Robinson: S19.44 The poem translates: If it should happen That we never met again, I would not complain; And I doubt that she or I Would feel that we were left alone. Image courtesy of Marie de Strycker
	Number: 48 Poet: Minamoto no Shigeyuki (源重之) Scene: Minamoto no Shigeyuki standing on a rocky promontory watching the raging waves below with Mount Fuji in the distance Robinson: S19.48 The poem translates: Like a driven wave, Dashed by fierce winds on a rock, So am I: alone And crushed upon the shore, Remembering what has been.
	Number: 49 Poet: Ônakatomi no Yoshinobu Ason (大中臣能宣朝臣) Scene: Three palace guards sitting around a fire at night Robinson: S19.49 The poem translates: Like the guard’s fires Kept at the imperial gateway– Burning through the night, Dull in ashes through the day– Is the love aglow in me?
	This is a later and less labor intensive edition of the above print
	Number: 50 Poet: Fujiwara no Yoshitaka (藤原義孝) Scene: Fujiwara no Yoshitaka seated in reverie in a palace with his hand on his forehead Robinson: S19.50 The poem translates: For your precious sake, Once my eager life itself Was not dear to me. But now it is my heart’s desire It may long, long years endure.
	Number: 53 Poet: The mother of Udaishô Michitsuna (右大将道綱の母) Scene: The poetess looking out from her window as a noble gentleman-caller comes to her gate Robinson: S19.53 The poem translates: Lying all alone, Through the hours of the night, Till the daylight comes: Can you realize at all The emptiness of that night?
	Number: 56 Poet: Lady Izumi-shikibu (和泉式部) Scene: The poetess and her maid walking in the rain past an enormous pine tree Robinson: S19.56 The poem translates: Soon my life will close. When I am beyond this world And have forgotten it, Let me remember only this: One final meeting with you.
	Number: 57 Poet: Dainagon Kintô (大納言公任), who is also known as Fujiwara no Kintô Scene: Dainagon Kintô with a page and five attendants viewing a waterfall with an overhanging pine tree Robinson: S19.57 NOTE: Although this print is clearly numbered 57 in the left margin, Dainagon Kintô is usually assigned number 55. The poem translates: Though the waterfall Ceased its flowing long ago, And its sound is stilled, Yet, in name it ever flows, And in fame may yet be heard.
	Another state of the above design
	Number: 60 Poet: Lady Koshikibu-no-naishi (小式部内侍) Scene: The Shuten-dôji on a terrace by the wooded mountainside of Ôyeyama Robinson: S19.60 NOTE: The Shuten-dôji was a red-skinned demon eventually killed by Raikô The poem translates: By Oe Mountain The road to Ikuno Is far away, And neither have I beheld Nor crossed its bridge of heaven. Image courtesy of Marie de Strycker
	Number: 61 Poet: Lady Ise-no-ôsuke (or Ise-no-tayû, 伊勢大輔) Scene: A priest and his attendant waylaid under a blossoming cherry tree by three yamabushi (ascetic warrior-priests) Robinson: S19.61 The poem translates: Eight-fold cherry flowers That at Nara–ancient seat Of our state–have bloomed, In our nine-fold palace court Shed their sweet perfume today.
	This alternate state of the above design has slightly different colors. (Note the yellow in the large cartouche.) Both states were printed from the same woodblocks.
	Number: 62 Poet: Lady Sagami (相模) Scene: The poetess on her veranda in the evening looking out over a river in the mist Robinson: S19.62 NOTE: Although this print is numbered 62, Lady Sagami is usually assigned number 65. The poem translates: Even when your hate Makes me stain my sleeves with tears In cold misery, Worse than hate and misery Is the loss of my good name. Image courtesy of Marie de Strycker
	Another state of the above design
	Number: 63 Poet: Sakyô-no-daibu Michimasa (左京大夫道雅) also known as Fujiwara no Michimasa Scene: Two court ladies examining a scroll on a veranda with blossoming cherry trees behind Robinson: S19.63 The poem translates: Is there any way Except by a messenger To send these words to you? If I could, I’d come to you To say goodbye forever.
	Another state of the above design
	Number: 64 Poet: Gonchûnagon Sadayori (権中納言定頼) also known as Fujiwara no Sadayori Scene: A peasant operating a fish trap on the Uji River at dawn Robinson: S19.64 The poem translates: In the early dawn When the mists on Uji River Slowly lift and clear, From the shallows to the deep, The stakes of fishing nets appear.
	Another state of the above design

“Robinson” refers to listing in Kuniyoshi: The Warrior-Prints by Basil William Robinson (Cornell University Press, Ithaca, NY, 1982) and its privately published supplement.

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