The girl in the foreground holds a koto training songbook, and another lies on the floor. They are titled "Kinkyokushū" and are in the same format as the two-volume "Kinkyokushō" collection of "kumi-uta" pieces for the koto published . Such songbooks typically opened with "Fuki", a piece by the priest that is considered the first of the "kumi-uta" genre. Contemporary viewers of the print would have been familiar with the piece and its third verse:  The "Fūryū Zashiki Hakkei" version, titled , was the first in the series, which is thus perhaps why it is quieter and less explicit than the rest. In the print a young girl plays the koto while receiving a kiss from behind from a young male, who is untying her "obi" sash. The uncut forelocks of the male indicate a "wakashū"—a boy who has not yet had his "genpuku" coming-of-age ceremony, which at the time would have taken place when he reached 15 or 16. The changing colours of the leaves outside the window suggest indicate autumn, the season of migrating geese of "", a version of which appears on a partitioning screen behind the pair. Further allusions include those relating to the koto, as in the original version of the print, and the painting of a skein of geese on the partitioning screen at right behind the boy. To the right a black dog appears to feign disinterest in its owner's lovemaking. The "mitate" works on two main levels: first, replacing the traditional natural setting with a modern domestic one; and second, replacing the geese imagery with a scene of young love. Hayakawa finds "mitate" allusions in the poem that relate to the image: he sees the "first geese" signifying the boy's first love, and the sound of the koto—an instrument that most often young women learn—representing the awakening of the girl's romantic feelings. He sees the reddening Japanese maple leaves reflecting the girl's growing passion for the boy and the pattern of maple and Japanese ivy leaves on her sleeves representing her sensuality. Ishigami notes that Kichijirō's version of the poem emphasizes the shape of the descending skein of geese, while Harunobu's emphasizes the sound of the koto attracting the geese, an image on which Harunobu builds a visual allusion in the picture.