Blood Drips

— from “Lays of Morbid Whimsy”

Musical Influence:
Paganini: Caprice No. 24 (The frantic energy of the underground)

Chishio Shitataru / Kyūsaku Yumeno

闇の中に闇があり
又闇がある
その核心から
血潮したゝる
骸骨が
曠野をひとり辿り行く
行く手の雲に
血潮したゝる
教会の
彼の尖塔の真上なる
青い空から
血しほしたゝる
洋皿のカナリアの絵が
真二つに
割れたとこから
血しほしたゝる
すれ違つた白い女が
ふり返つて笑ふ口から
血しほしたゝる
真夜中の
三時の文字を
長針が通り過ぎつゝ
血しほしたゝる
水薬を
花瓶に棄てゝアザミ笑ふ
肺病の口から
血しほしたゝる
日の影が死人のやうに
縋り付く倉の壁から
血しほしたゝる
たはむれに
タンポヽの花を引つ切れば
牛乳のやうな血しほしたゝる
大詰めの
アンチキシヤウの美くしさ
赤いインキの血しほしたゝる

Drawn from Yumeno Kyūsaku’s Ryōkika (“Lays of Morbid Whimsy”)

English Translation

In the dark,
another dark—
and yet another.
From its core,
blood drips.

A skeleton
alone across the waste land;
from the clouds ahead—
blood drips.

Above the church,
just over its pointed spire,
from the blue sky,
blood drips.

Upon a china plate
the painted canary
splits in two—
from the crack,
blood drips.

The white woman I passed
turns and laughs—
from her smiling mouth,
blood drips.

In the middle of the night,
the mark of three—
the long hand passing—
blood drips.

Pouring medicine
into a vase, with a mocking sneer—
from the mouth of the consumptive,
blood drips.

From the wall of a storehouse
where sunlight clings
like a corpse—
blood drips.

Playfully plucking
a dandelion flower—
from its torn stem
milk-white blood drips.

The climax—
the beauty of that bastard—
from red ink,
blood drips.

Translation ©Tsukiyonokarasu, 2026
Original text by Yumeno Kyūsaku (Public Domain)

I’ve approached each poem with care and time—reading, translating, listening, and creating—always as a quiet collaboration with the poet.
These works reflect not just the poem itself, but also the moments of silence, discovery, and emotion that arose between us.

You’re invited into that space—not to copy, but to feel.

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