[2] Hartley wrote that "Shigure’s work has been largely overlooked in English-language scholarship" and that this may have been due to a perception that she supported militaristic elements that existed in Japan before World War II.

[2] Her family members;[3] second husband,[2] Mikami Otokichi (三上 於菟吉); and good friends, including Onoe Kikugorō VI (六代目 尾上 菊五郎); all called her O-Yatchan.

Hartley wrote that the forcing of the marriage was a "bitter" and that it "further heightened Shigure’s sense of the social injustices visited upon women.

[1] The funds came from Mikami's royalties; he had suggested buying Hasegawa a diamond ring but she asked instead to give her 20,000 yen so she could establish the magazine.

Rebecca L. Copeland, editor of Woman Critiqued: Translated Essays on Japanese Women's Writing, stated that these plays "resisted clichéd tragic endings and featured heroines who strove for self-fulfillment and independence.