This depicts Oniwakamaru (who later becomes Musashinobō Benkei, a vassal of Minamoto no Yoshitsune) in “Kiichi Hōgen Sanryaku no Maki” (Kiichi Hōgen’s Book of Strategy). In the second act, Oniwakamaru is ordained as a priest and becomes known as Benkei. This painting shows Oniwakamaru being prepared for his ordination by having his topknot cut off. A hand holds a sword while gripping his topknot. The actor is Arashi Kichisaburō III.

Ariwara no Narihira, known as a talented waka poet from the early Heian period, has been the inspiration of various works throughout the years. He also appears in Rokkasen Sugata no Irodori, a kabuki dance performance about the Six Poetic Geniuses. The reason Ariwara no Narihira was selected as the main subject for Chiryū in this series is due to his strong association with the area from Ise Monogatari (The Tale of Ise), the tale and waka poetries established during the Heian period. In Ise Monogatari, the main character who is heavily implied to be Ariwara no Narihira, seeing the beautiful iris flowers at Chiryū, composes a poem and sheds tears as he thinks of the loved ones he left at the capital. The title frame of this print is also adorned with iris flowers.

Depicts a character from the second act, “Hayashi Sumika,” of “Ichi-no-tani Futaba-gunki,” which is based on the battle of Ichi-no-tani in the Genpei War. It is set in the house of Hayashi, the nanny of Kiku no Mae, the forgiving wife of Taira no Tadanori (No. 43). In this scene, Okabe no Rokuyata (No. 16), a retainer of Minamoto no Yoshitsune, comes to Taira no Tadanori, who was known as an excellent poet, to tell him that his waka poems have been included in the “Senzai Wakashū” but listed as “author unknown.” No. 15, Tagohei, Hayashi's own son, goes into battle with his father's sword, a cherished memento, and becomes a scout who follows Okabe no Rokuyata on the battlefield. Okabe no Rokuyata is depicted by Arashi Kichisaburō III, and Tagohei by Kataoka Ichizō.

Depicts a character from the second act, “Hayashi Sumika,” of “Ichi-no-tani Futaba-gunki,” which is based on the battle of Ichi-no-tani in the Genpei War. It is set in the house of Hayashi, the nanny of Kiku no Mae, the forgiving wife of Taira no Tadanori (No. 43). In this scene, Okabe no Rokuyata (No. 16), a retainer of Minamoto no Yoshitsune, comes to Taira no Tadanori, who was known as an excellent poet, to tell him that his waka poems have been included in the “Senzai Wakashū” but listed as “author unknown.” No. 15, Tagohei, Hayashi's own son, goes into battle with his father's sword, a cherished memento, and becomes a scout who follows Okabe no Rokuyata on the battlefield. Okabe no Rokuyata is depicted by Arashi Kichisaburō III, and Tagohei by Kataoka Ichizō.

“Tōkaidōchū Hizakurige,” a comic picaresque novel by Jippensha Ikku, gained popularity in the Edo period and was also used as the subject of a Kabuki play. Ejiri (No. 13) depicts Yajirobei. The actor who played the role is Nakayama Bungorō II, known for his comical facial expressions. In the background is the famous Miho-no-Matsubara pine grove. The outer frame depicts a robe of bird feathers in reference to the “Swan maiden” legend associated with the area. Kitahachi is depicted at Fuchū (No. 14). The actor who played the role was Ichikawa Hirogorō I. The outer frame shows the famous Abekawa mochi (rice cakes).

“Tōkaidōchū Hizakurige,” a comic picaresque novel by Jippensha Ikku, gained popularity in the Edo period and was also used as the subject of a Kabuki play. Ejiri (No. 13) depicts Yajirobei. The actor who played the role is Nakayama Bungorō II, known for his comical facial expressions. In the background is the famous Miho-no-Matsubara pine grove. The outer frame depicts a robe of bird feathers in reference to the “Swan maiden” legend associated with the area. Kitahachi is depicted at Fuchū (No. 14). The actor who played the role was Ichikawa Hirogorō I. The outer frame shows the famous Abekawa mochi (rice cakes).

Luggage carrier Heisaku (No. 8) and Gofukuya Jūbei (No.9) are a father and son duo who appear in “Numazu no Dan” in Igagoe Dōchū Sugoroku. On the outskirts of Numazu post station, Jūbei is reunited with his birth father Heisaku and his sister Yone (No. 71) by a twist of fate. However, when Jūbei learns that they are each allied with the other’s enemy, he leaves without giving his name but leaves money behind. Heisaku, who learns that Jūbei is his long-lost son but also an enemy, follows him. In exchange for his life, Heisaku demands to know the whereabouts of his enemy. Heisaku was portrayed by Arashi Isaburō II, and Jūbei by Sawamura Chōjūrō V. This cast perfomed “Numazu no Dan” was performed at the Nakamura-za Theater in May 1840. No.8 was a posthumous portrait of Arashi Isaburō II.

The figure illustrated in the foreground is Okoma, a character from kabuki plays about the folk hero Oguri Hangan. Okoma is the daughter of the inn owner of Yorozu-ya, where Oguri Hangan’s lover Terute-hime is sold to. Additionally, Okoma is in love with Oguri. The actor portraying Okoma in this print is Iwai Kumesaburō III, who actually played Okoma in 1851 for the kabuki play Sekainohana Ogurigaiden (Flowers of the World: The Side Story of Oguri Hangan). The large mountain in the background is Koma-yama (Mt. Koma) of Hiratsuka. It is thought that Okoma was chosen to represent Hiratsuka because of a play on sounds and words between the names Mt. “Koma” and O“koma.”