The woodblock prints feature various famous figures, both historical and literary characters, each in a moonlit scene as well as occasional references to poetry.
The subjects are drawn from various sources in Japanese and Chinese history and literature, Kabuki and Noh theatre, and even contemporary Edo (modern Tokyo), linked only by the presence of the Moon in each print.
[2] (Joga hongetsu tsuki) A host of dead warriors appeared above the waves and were only quelled when Benkei confronted them, with his rosary in hand, reciting prayers and spells.
Kuniyoshi had depicted this episode in prints with the ghosts clearly visible; Yoshitoshi makes them less tangible, but evokes their presence in the shapes of the black clouds.
In fine early impressions such as this example, mica scattered on the surface shines when the print is moved in the light, depicting the moonlight glittering on the dark waves."
First edition January 1886[5] I Listen to the Sound of the Cloth Being Pounded/ As the Moon Shines Serenely/ And Believe that There is Someone Else/ Who Has Not Yet Gone to SleepIn the northern sky, geese fly across the Big Dipper; to the south, cold robes are pounded under the moonlight.Like all the prints in this series, the white title cartouche is embossed with the pattern of a textile.
First edition February 1886[9] The print shows her ghost floating through her garden on the night of a full moon: yûgao was also known as ‘moonflower’, thus linking the subject to the theme of the series.
The print shows her as she turns away to come down from the mountain, with the mood of the landscape reflecting her state of mind: the clouds covering the Moon, the wind tugging at her robes, the fence a barrier between her and her lover, and the intertwined pine trees, symbols of conjugal happiness, disappearing in the mist.