Obon is a custom to express gratitude to deceased ancestors, or in other words, to the bloodline that has connected one’s life to one’s own.

Originally, it was held around July 15 on the lunar calendar, but when the new calendar was introduced in the Meiji era (1868-1912), July 15 fell during the busy farming season, so it was moved one month later to around August 15 in many areas. Many companies and stores set their “Obon vacations” to coincide with this date, and since it also coincided with the end of the war, it seems to have taken root as a time to mourn those who had passed away. Therefore, the custom has taken root as a time to return to one’s parents’ home, similar to the winter New Year’s holiday. In recent years, however, many people consider it a time to enjoy leisure activities rather than to return home.

The custom of visiting graves and making offerings at home to welcome ancestors during Obon remains even in the 21st century. In such cases, cucumbers are sometimes used as horses and eggplants as cows, and decorations are sometimes made with the idea of having ancestors come early with the cucumber horses and return home slowly with the eggplant cows.

This “Itsuki no komoriuta” is not a lullaby to soothe a baby, but a “Moriko Uta,” a song about one’s circumstances, having been sent away from home because of poor birth and given the job of babysitting in a wealthy family. In Japan, 75% of the land is covered by forests, and the amount of land available for cultivation is much smaller than one might imagine. Therefore, men who could do the heavy lifting from the small harvest were given priority, and girls and elderly people were often sent to serve as “Kuchiberashi” or killed.

This song was sung in Itsukimura, Kuma-gun, Kumamoto Prefecture, and became known throughout Japan after World War II when it was recorded. However, it is not widely known that there is a continuation of the lyrics listed here.

Odon ga ucchinda chuute
dare ga naite kuryoka
ura no Matsuyama, semi ga naku

Even if I die,
Who will cry for me?
Perhaps only the cicadas on the pine-covered hill behind the house.

Semi ja gojansen
imouto de gozarū
imouto nakunayo ki ni kakaru

It’s not the cicadas,
It’s my younger sister.
Don’t cry, sister, it worries me.

Odon ga ucchindara
michibata cha ikero
tooru hito gochi hana agyuu

When I die,
Bury me by the roadside,
So I can give flowers to passersby.

Hana wa nan no hana
tsun tsun tsubaki
mizu wa ten kara moraimizu

What kind of flowers would they be?
The sharp, pointed camellia.
And the water will come from heaven.

“Palm fruit” is also called “Yashi no mi” in Japan.

YANAGITA Kunio, a folklorist who spent one summer in the Meiji Era at Cape Irago in Tahara, Aichi Prefecture, told his literary friend about an episode in which he found a “palm fruit” washed ashore while taking a walk on the beach.

It was a time when knowledge of foreign countries was scarce. And the Japanese, surrounded by the sea, are thought to have long felt a romantic sense of “what kind of world there is outside the sea. This is probably the reason why people still refer to foreign countries as “kaigai,” which means “outside the sea. SHIMAZAKI Touson, a well-known literary giant of the Meiji period, was inspired to write these lyrics by a palm tree that had drifted ashore on a journey across the sea. He said to YANAGITA, “Give me the story. Don’t tell anyone.

The beautiful poem and melody, written in “Japanese for literature,” which is not used today, has been selected as one of the “100 Best Japanese Songs.

Many people take the one-hour ferry from Cape Irago to Ise-Shima to visit the Ise Jingu Shrine.

Photo by (c)Tomo.Yun

Beautiful Memories in Ancient Words

“Hamabe no uta” is a song that captures the melancholic mood of walking aimlessly along the shoreline while reminiscing about days gone by. One of the song’s greatest charms lies in the beauty of its lyrics, written in classical Japanese literary style. However, because it’s composed in archaic language, even modern Japanese speakers find it challenging to fully grasp the true meaning of its words. It has the same appeal as deciphering classical literature, and this linguistic barrier paradoxically adds to the song’s profound allure.
The lyrics were penned by HAYASHI Kokei, a Japanese literature scholar born in 1875. Interestingly, he had quite an unconventional background—he entered the Buddhist priesthood at a young age. However, driven by his passion for learning, he left the temple to pursue an academic career, becoming a teacher of Japanese and Chinese literature. Then, after turning 30, he made an unusual career change by enrolling in a music school, which was quite rare for someone of his age in those days.

A Beautiful Score Adorned by TAKEHISA Yumeji

When the musical score was published in 1918, its cover was graced by artwork from Takehisa Yumeji, renowned for his exquisite paintings of beautiful women. Yumeji’s elegant and lyrical artistic style harmonized perfectly with the melancholic atmosphere of “Hamabe no uta,” transforming the sheet music itself into a work of art. Indeed, this cover continues to be beloved by many to this day and is considered one of the iconic works of the Taisho Romantic movement.
The music itself is extraordinarily beautiful and lyrical, with a melodic line that possesses the delicacy to touch the heartstrings of the Japanese people. The melody, reminiscent of ocean waves and sea breezes, evokes nostalgic memories in listeners’ hearts, which explains why it continues to be cherished across generations.

The Mystery of the Lost Third Verse and Its Cinematic Legacy

“Hamabe no uta” originally consisted of three verses, according to historical accounts. However, the third verse that we might know today differs from what Kokei originally wrote. Remarkably, someone had altered the latter half of the lyrics without permission. When Kokei discovered this unauthorized change, he was reportedly furious, exclaiming, “This makes no sense!” Unfortunately, he couldn’t recall his original lyrics, and as a result, only the first and second verses are sung today. This episode about the phantom third verse remains one of the enduring mysteries surrounding the song.

Twenty-Four Eyes (1954) poster. By The poster art can or could be obtained from the distributor. Fair use, via Wikimedia Commons

Later, “Hamabe no uta” was effectively featured in the acclaimed film “Twenty-Four Eyes” (1954). This movie portrayed the tragedy of war through the bond between a new female teacher assigned to an impoverished village in the Setonaikai region and her students, depicting both the tragedy of conflict and the resilience of human spirit. When the song plays in the film, it resonates with the characters’ emotions and leaves a profound impact on audiences. In this way, the song transcended its individual appeal to gain greater cultural significance by connecting with other artistic works.