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 | | Ono no Komachi, who flourished in the middle of the 9th Century, is considered one of the masters of her craft. |
 | | Komachi had numerous lovers, but was always frustrated in love, and in her later years, mourned the loss of her beauty, keeping apart from the world, and adopting a Buddhist outlook on the transitory nature of existence. |
 | | Less promiscuous perhaps, but no less passionate in her approach to love and life, Izumi brings the tanka to its apotheosis, filling this small form with as much artistry, philosophical inquisitiveness, beauty of assonance and sounds, and poignance, as it would seem possible. |
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