The Delicate Season Between Winter and Spring

“Soushunfu” is a song that beautifully expresses the anticipation of spring in Japan, capturing the transitional period from early February (around “Risshun” in the traditional 24 solar terms) through March. Despite being officially spring, this period is characterized by winter’s lingering presence—the wind remains chilly, and even the nightingale, traditionally known as the herald of spring, still refrains from singing. The landscape presents a poetic contradiction: plum blossoms beginning to bloom while snowflakes continue to fall, and fresh reeds sprouting along waterways despite the persistent cold. These elements combine to create a poignant portrayal of the longing for spring’s full arrival.

Though written in classical Japanese style, the lyrics offer a beautiful resonance without overly difficult pronunciation, making it an ideal piece for those studying Japan’s traditional musical heritage.

The Inspiring Origins in Nagano’s Alpine Landscape

The song originated in the early Taisho era (1912-1926) when YOSHIMARU Kazumasa, a respected professor at the Tokyo Music School and member of the “Jinjo Shogakko Shoka” (Elementary School Songs for Common People) compilation committee, visited Azumino in Nagano Prefecture. The melting snow scenery around Hodaka Town profoundly moved YOSHIMARU, inspiring him to compose the poem for “Soushunfu.” For the musical composition, he turned to his colleague NAKADA Akira, a renowned composer who was the father of NAKADA Yoshinao (known for beloved songs such as “Natsu no Omoide,” “Chiisai Aki Mitsuketa,” and “Yuki no Furu Machi wo”).

Azumino: The Landscape That Inspired a Classic

Nestled at the foot of the Northern Japan Alps, Azumino presents a striking natural environment that was particularly impactful for YOSHIMARU. Having been born and raised in the warm climate of Oita Prefecture in Kyushu, the distinct seasonal transitions and alpine scenery of Azumino offered a fresh perspective that deeply influenced his artistic sensibilities.

The region is characterized by remarkable natural beauty—crystal-clear streams fed by alpine snowmelt, vast fields framed by mountain vistas, and a distinctive climate that remains cool even during summer months. This environmental contrast between his native Kyushu and the alpine landscape of Nagano likely heightened YOSHIMARU’s sensitivity to the subtle signs of early spring depicted in the song.

Azumino’s agricultural fame for premium wasabi and soba noodles further connects to its exceptional water quality and climate—elements that form the backdrop for the song’s portrayal of nature’s awakening. Today, visitors to the area can find a monument commemorating the creation of “Soushunfu,” recognizing the song’s cultural significance and connection to this specific landscape.

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Cultural Recognition and Enduring Legacy

“Soushunfu” has earned significant recognition in Japan’s cultural canon, being selected as one of the “100 Best Japanese Songs” by both the Japanese Agency for Cultural Affairs and the Japan PTA National Council. This official recognition highlights the song’s artistic merit and its importance in preserving traditional Japanese sensibilities about nature and seasonal transitions.

The song continues to be taught in schools and performed in various contexts, serving as both a cultural touchstone and a reminder of Japan’s deep poetic tradition of observing and celebrating the subtle changes in nature throughout the year.

A Song That Bridges Ancient Poetry and Modern Melody

“Natsu wa Kinu” (Summer Has Come) stands as one of Japan’s most sophisticated art songs, a piece that perfectly captures the exuberant spirit of early summer while showcasing the extraordinary depth of Japanese literary tradition. The song arrives with the season of Rikka (立夏) – literally “the establishment of summer” – one of the 24 seasonal divisions in the traditional East Asian calendar that marks the official beginning of summer around May 5th or 6th. What makes this song truly remarkable is how its soaring, expansive melody seems to embody the very essence of summer’s arrival, with musical phrases that rise and fall like warm breezes across open fields.

However, beneath this accessible and joyful melody lies something far more complex and intellectually demanding. The lyrics are written in classical literary Japanese, a formal, poetic language that even many native Japanese speakers find challenging today. This isn’t a song you can simply hum along to without deeper study – it’s a sophisticated work of art that requires cultural knowledge and literary understanding to fully appreciate. Think of it as the Japanese equivalent of an opera aria: beautiful to hear, but rich with layers of meaning that reward careful study.
The song has earned such respect among musicians and scholars that it was selected as one of “100 Best Japanese Songs,” a prestigious recognition that places it among the nation’s most treasured musical works.

The Scholarly Mind Behind the Poetry

To understand why “Natsu wa Kinu” is so linguistically sophisticated, we need to know about its remarkable creator, SASAKI Nobutsuna (1872-1963). Born into what could be called Japanese literary royalty, Sasaki came from a family where poetry and classical literature weren’t just hobbies – they were a way of life passed down through generations. His family had dedicated themselves to the study and preservation of Japanese literature for centuries, making young Nobutsuna heir to an incredible wealth of classical knowledge.

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SASAKI’s expertise was so profound that he became one of Japan’s leading authorities on the Man-you-shuu, an 8th-century poetry collection that represents the very foundation of Japanese literature. The Man-you-shuu contains over 4,500 poems and is considered the oldest existing collection of Japanese poetry, making it roughly equivalent to what Homer’s epics represent to Western literature. For his groundbreaking scholarly work in preserving and interpreting these ancient texts, SASAKI was awarded the Order of Cultural Merit, Japan’s highest honor for cultural achievement – think of it as the Nobel Prize for Japanese cultural scholarship.

This background explains why “Natsu wa Kinu” reads more like classical poetry than a typical song lyric. SASAKI wasn’t just writing a summer song; he was creating a work that would demonstrate the continuing vitality of Japan’s ancient poetic traditions in a modern musical context. For contemporary listeners, appreciating this song fully requires what might be called “cultural literacy” – a deep understanding of Japanese literary history and classical references that were once common knowledge among educated Japanese but have become increasingly rare in our modern world.

The Intricate Architecture of Five Tanka Poems

What makes “Natsu wa Kinu” structurally unique is its sophisticated poetic construction. Rather than using conventional song verses, SASAKI crafted five complete tanka poems, each following the traditional Japanese poetic pattern of 5-7-5-7-7 syllables. Tanka is one of Japan’s most ancient and respected poetic forms, predating even haiku, and mastering it requires not just technical skill but deep cultural understanding. Each of the five tanka tells part of the summer story, and they’re woven together so skillfully that they create both individual moments of beauty and a cohesive narrative arc.

The first tanka introduces us to “Unohana” (deutzia flowers) blooming alongside the song of the “Hototogisu” (lesser cuckoo). This pairing has been a beloved symbol of early summer in Japanese poetry since the Man-you-shuu era – imagine how Western literature might pair roses with nightingales. However, SASAKI adds a subtle twist that reveals his deep knowledge: this particular combination is slightly “off-season,” and when the hototogisu sings at unexpected times, it’s called “shinobine” (yearning song) – a cry filled with longing that adds emotional depth to the natural imagery.

The second tanka contains one of the song’s most complex references, drawing from “Eiga Monogatari” (A Tale of Flowering Fortunes), a Heian period historical narrative from around 1000 CE. The original passage describes women “Taue”(planting rice) with their hakama (traditional split skirts) wet from early summer rains, while praying for the emperor’s reign to last a thousand years. SASAKI transforms this historical scene, changing “Shizume” (women of low status) to “Saotome” (rice-planting maidens) in 1932, perhaps reflecting changing social sensibilities. “Saotome” remains a common Japanese surname today, connecting this ancient imagery to contemporary life.

Classical Wisdom and Natural Beauty Intertwined

The third tanka draws from Chinese classical literature, specifically the famous story “Keisetsu no kou” about a poor student who studied by firefly light because he couldn’t afford oil for lamps. This tale was so well-known to prewar Japanese that it was immortalized in the graduation song “Hotaru no Hikari” (Light of Fireflies), which generations of Japanese students sang at school ceremonies. By including this reference, SASAKI gently reminds listeners not to waste the long summer days – a message about diligence and self-improvement that resonates with traditional East Asian educational values.

The fourth tanka presents a quintessentially Japanese summer scene: the “Ouchi” (Japanese bead tree, or Melia azedarach) blooming near a riverside gate, where a “Kuina” (water rail) can be heard calling. This isn’t just pretty nature imagery – it’s a sophisticated reference to classical literature including “Genji Monogatari ( The Tale of Genji ),” where the kuina’s distinctive call is compared to the sound of someone tapping at a gate, creating an atmosphere of mystery and anticipation. For readers familiar with these classical works, this single image evokes entire worlds of literary association.

The fifth and final tanka serves as a masterful summary, weaving together key elements from the previous four poems while introducing “Satsuki Yami” (May darkness). This refers to the deep darkness that characterizes the rainy season, when thick clouds block out light even during what should be the bright days of early summer. It’s a uniquely Japanese seasonal concept that captures how the rainy season creates an almost mystical quality of light and shadow.

Finally, for those learning Japanese, it’s worth noting that “Natsu wa Kinu” doesn’t mean “summer never comes” as English speakers might initially read it. In classical Japanese, “kinu” is the past tense of “kuru” (to come), making the title mean “Summer Has Come” – a joyful announcement that the season has finally arrived, bringing with it all the natural beauty and cultural richness that SASAKI so masterfully celebrates in his five interconnected poems.

This famous poem was selected as one of the 100 Best Japanese songs.

Hotaru koi — The Enchanting World of Firefly Hunting

Picture this: as the sun begins to set on a warm early summer evening in Japan, children gather near streams and rice paddies, their voices rising in a gentle, melodic chant: “Ho, Ho, Hotaru koi…” This beloved children’s song isn’t just a tune—it’s an invitation to one of Japan’s most enchanting seasonal traditions called “hotaru-gari” or firefly hunting. Unlike what the name might suggest, this isn’t about capturing these delicate creatures, but rather about witnessing nature’s own light show as fireflies dance through the twilight air like tiny floating lanterns.

The song “Hotaru Koi” captures the wonder and anticipation that both children and adults feel during this magical time of year. It’s a moment when the boundary between the human world and nature becomes beautifully blurred, and families come together to experience something that has captivated Japanese hearts for centuries. The simple melody and repetitive lyrics make it easy for even the youngest children to join in, creating a chorus that seems to beckon the fireflies from their hiding places.

A World of Glowing Wonders

Did you know that scientists have discovered approximately 2,000 species of fireflies around the globe? These fascinating insects come in two main varieties: terrestrial fireflies that spend their larval stage on land, and aquatic fireflies that develop in water. What makes this truly remarkable is that of these 2,000 species worldwide, only about 10 are aquatic fireflies—and Japan is home to 3 of these rare species: Genji fireflies (Luciola cruciata), Heike fireflies, and Kumejima fireflies. This extraordinary concentration of aquatic firefly species in Japan—representing 30% of the world’s total—demonstrates the exceptional quality of Japan’s freshwater environments.

What makes this particularly interesting for our song is that adult aquatic fireflies consume only water—no solid food at all! This might explain why the traditional lyrics reference the sweet taste of water, connecting the fireflies’ simple diet to the pure, clean streams where they’re most commonly found.

In Japan, fireflies have become living indicators of environmental health. These delicate creatures can only survive in areas with pristine water quality, making their presence a sign that the local ecosystem is thriving. When you see fireflies dancing above a stream, you’re not just witnessing a beautiful natural phenomenon—you’re looking at nature’s own quality control system in action. This connection between fireflies and clean water has made them symbols of environmental consciousness in Japanese culture.

The Perfect Firefly Habitat: Where Wasabi Grows

Some of the most spectacular firefly displays in Japan occur near mountain streams where wasabi is cultivated. These wasabi fields require the same crystal-clear, cool flowing water that fireflies need to survive, creating the perfect partnership between agriculture and nature. The terraced wasabi beds, with their constant flow of pure mountain water, provide ideal breeding grounds for fireflies while producing one of Japan’s most treasured culinary ingredients.

Wasabi, often called “Japanese horseradish,” is far more than just a condiment—it’s a cultural treasure that perfectly embodies the Japanese appreciation for subtle, natural flavors. True wasabi (hon-wasabi) is quite different from the green paste many people know from sushi restaurants abroad, which is often a mixture of horseradish, mustard, and food coloring. Authentic wasabi has a clean, sharp heat that doesn’t linger, and its flavor is best experienced when freshly grated on a traditional sharkskin grater called an “oroshi.” The grating process creates a smooth, creamy texture that releases the plant’s natural oils and delivers that distinctive, fleeting burn followed by a surprising sweetness. Nowadays, adventurous food lovers can even find wasabi-flavored ice cream—a uniquely Japanese treat that somehow works beautifully!

Modern Firefly Magic: Keeping Tradition Alive

In today’s rapidly modernizing Japan, the tradition of firefly watching has evolved to meet contemporary lifestyles while preserving its essential magic. Many hotels and resorts now organize special “Firefly Evenings” complete with traditional kaiseki dinners, guided nature walks, and storytelling sessions about firefly folklore. These events often include performances of “Hotaru Koi” and other traditional songs, allowing visitors to experience the full cultural context of firefly season.

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Some locations have created dedicated firefly parks and conservation areas where families can safely observe these creatures while learning about their life cycles and environmental importance. These modern interpretations of an ancient tradition show how Japan continues to honor its natural heritage while adapting to changing times. Photography workshops have also become popular, teaching visitors how to capture the ethereal beauty of fireflies without disturbing their natural behavior.

The enduring popularity of “Hotaru Koi” and firefly hunting demonstrates something beautiful about Japanese culture: the ability to find profound meaning in simple, seasonal moments. Whether you’re a child singing the song for the first time or an adult revisiting childhood memories, the sight of fireflies dancing in the summer twilight remains one of those experiences that connects us to something larger than ourselves—to the rhythms of nature, to generations past and future, and to the simple joy of being present in a moment of natural wonder.

There are many songs about the sea, but this song is probably the first sea song that a child is exposed to.
It is a very simple song about how it feels to see the sea.

Japan is one of the few maritime nations in the world that has no national borders on the ground.
Children are probably exposed to the sea at a relatively early age, and the awe of the size of the sea is palpable.

Of course, the sea still has a special place in the hearts of Japanese people, not only as a source of food such as fish, but also as an object of healing and, as the song says, an interface to foreign lands. Songs such as “Yashi no Mi (Palm Seed)” speak of the sea as a gateway to foreign lands.

The Japanese, being an earthquake-prone country, also know that the sea has two faces, one gentle and the other terrifying.
When you visit the sea, please make sure that there is a place where you can escape in case of emergency.

By the way, it is precisely because Japan has benefited greatly from the sea that a food culture such as “sushi” was born,
The taste component called “Umami,” which is said to be difficult for foreigners to detect, is mainly extracted from kelp.

While the entertainment value of conveyor-belt sushi is enjoyable, I would like people to try traditional sushi restaurants where they sit at a counter and are confronted by a sushi chef.

You will discover the magic of a dish that appears to be nothing more than a slice of fish on a bed of rice.

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