the floor with a kept mistress. The woman sticks out her tongue towards the mouth of the man, who has his head covered in a kerchief. His ruffled, curly sidelocks protrude from the kerchief, in contrast to the straight, brushed up hairs of the nape of the woman's neck and her sidelocks. Images of chrysanthemums decorated a byōbu folding screen to the left. Print No. 7 A pair has sex on the floor by an open veranda. By the threshold of the veranda sits a sake set on a tray with sakazuki sake cups and a chōshi sake decanter on it, suggesting the scene follows a Budhhist memorial service. The woman's eyebrows are shaved, indicating a married woman, but her black kimono suggests she has recently been widowed. She covers her face, perhaps in shame, and her emotional state is expressed in her tensed toes. The black of her kimono contrasts with the white of her skin. The man's grasps the woman's leg from behind to facilitate penetration. Though difficult to see at first glance, through the woman's translucent silk kimono appears the lusty face of the man. Utamaro made frequent use of printing techniques giving materials the appearance of translucent, such as in Hari-shigoto. Print No. 8 A pair of lovers have sex beneath a sakura cherry tree in bloom. The woman is dressed as a geisha. The man presses his right hand on her breast within her kimono. Print No. 9 A young woman tries to fight off a hairy older man who is raping her; she bites his arm. Such violence is rare in Edo-period shunga, and the perpetrators are usually depicted as ugly. This is the only print in the book that includes dialogue. In the inscription in the lower right the woman says: Let go of me Rihei, you old fool! In the inscription above him the man replies: Save your words and just keep still. Print No. 10 A pair of lovers make love on the floor in a room on the second story of a teahouse. The woman holds the man's face with her in what de Goncourt calls "a torturous and passionate grip". A close look reveals the man's right eye peering out just below the edge of the woman's hair. The man holds a hand fan on which is inscribed a kyōka poem by (1754–1830): Following the poem appears the inscription