Publisher's notes from the original pamphlet:

The scattered border of votive banners, shown in the center of the design, leads to the Azuma Shrine, almost invisible, but which was clearly drawn by the artist and can be discovered by a careful scrutiny of the left-hand part of the print.

In spite of the rather dark general aspect of the print, a feeling of warmth is conveyed. The lighter black shades used in the original edition help with this feeling. The touches of color - the blue of the Rokken River, and the light blue, yellow and brown in the two passing figures - also help to overcome any feeling of oppression.

Hiroshige displays his versatility in the rather remarkable brushwork employed in the drawing of the trees in this print. This is different from his usual brushwork and is worthy of study.

There are three kyoka poems, all signed with pen-names. The first, by Kanninsha Nijimori, suggests that the night rain-clouds might have come from the 'stone roots' of the old camphor trees. The second poem, by Mizutorido, speculates whether the willow raincoat worn by one of the figures in the print might not have been borrowed from a house in Yanagishima. The third poem, by Shobaitei Akindo (evidently a tradesman), alludes to the silent and empty shrine in the Azuma woods, and to the apparent lack of concern for it by the two sodden midnight stragglers.