of an aged Komachi, forced to wander in ragged clothes, her beauty faded and her appearance so wretched that she is mocked by all around her, as punishment for her earlier mistreatment of her lovers. Yet another group of legends concern her death, her skull lying in a field; when the wind blows through the skull’s eye socket the sound evokes Komachi's anguish. A different categorization system for Komachi legends was given by Masako Nakano. She gives five groupings: Poetry Almost all of Komachi's extant poems are melancholic. Poet and translator Kenneth Rexroth and Ikuko Atsumi said of her poetry: <blockquote> Her beauty may be legendary but her rank as one of the greatest erotic poets in any language is not. Her poems begin the extreme verbal complexity which distinguishes the poetry of the Kokinshū Anthology from the presentational immediacy of the Man'yōshū. </blockquote> Most of her waka are about anxiety, solitude or passionate love. In the Kokinshū, all but one of her poems—the one that later appeared in the Hyakunin Isshu, quoted below—were classified as either "love" or "miscellaneous" poems. She is the only female poet referred to in the of the anthology, which describes her style as "containing naivety in old style but also delicacy". One of her poems was included as #9 in Fujiwara no Teika's Ogura Hyakunin Isshu: The poem was originally included in the Kokinshū as #133, in the section dedicated to seasonal (spring) poetry. The poem is filled with many layers of significance, with almost every word carrying more than one meaning. It was the subject of a short essay appended to Peter McMillan's translation of the Ogura Hyakunin Isshu. In his Seeds in the Heart, translator, critic and literary historian Donald Keene said that "[t]he intensity of emotion expressed in [her] poetry not only was without precedent but would rarely be encountered in later years. […] Komachi's poetry, however extravagant in expression, always seems sincere." He also praised her poetry along with that of the other poets of the “dark age” of waka in the ninth century in the following terms: The passionate accents of the waka of Komachi and Narihira would never be surpassed, and the poetry as a whole is of such charm as to make the appearance of the Kokinshū seem less a brilliant dawn after a dark night than the culmination of a steady enhancement of the expressive powers