The song’s lyrics, with the tempo of a round, lovely apple murmuring, are perfectly matched with a melody tinged with shame and melancholy.

The lyricist, TAKEUCHI_Toshiko, is said to have written the lyrics while gazing at the apple on his bed, which he received as a visit during her hospitalization. This was in the early Showa period. Farmers, especially those in the Tohoku region where apples were grown, were in a difficult situation, and many families sold their daughters. This song may have depicted such a situation. When the lyrics are read with the historical background in mind, they can be taken as the words of a daughter who was sold to a brothel in the city to make ends meet, murmuring about her hometown. The background of the song is painful, but the melody has a lightness to it that makes it all the more sad.

At the lined-up shops from various places…Meiji Era

Yoshiwara Yuukaku in 1930s

Daughter Peddling Counseling Center Posting

Considering such a historical background, one cannot help but be struck by the sadness of the daughters who look up at the sky and think of their hometowns without complaining.

The “pechka,” a heating appliance born from the wisdom of northern peoples, is a type of stove that combines the functions of a fireplace and a stove. It has evolved uniquely in different regions. In Scandinavia, stone pechkas, primarily made of granite due to its low thermal conductivity, are characteristic. It is believed they maintained consistent room temperatures by leveraging the stone’s heat retention properties.

In Russia, brick pechkas became dominant, often featuring elegant decorations while maintaining practicality. Records from mansions in St. Petersburg, the capital, document the existence of pechkas beautifully adorned with decorative tiles.

The pechka culture in Manchuria is considered to have been formed through a confluence of historical factors. The presence of Russian communities who settled in northeastern China, the influence of engineers involved in the construction of the Trans-Siberian Railway, and the arrival of Japanese migrants all intertwined to cultivate a distinctive style.

In the 1920s, Manchuria was in the midst of significant social transformation. The warlord conflicts following the Xinhai Revolution, the influx of Russian immigrants after the Siberian Intervention, and Japan’s full-fledged management of Manchuria created a historical landscape where different cultures met and merged.

During this period, the South Manchuria Educational Association commissioned the creation of songs for Japanese children living in the area. In response, KITAHARA Hakushuu wrote the lyrics and YAMADA Kousaku composed the music. It is said that during their visit to the region, they were exposed to a rich musical culture where Russian folk songs, Chinese folk songs, and Japanese songs intermingled, with the pechka as a central gathering point.

Later, the pechka was also introduced to Hokkaido. Documents from the Colonial Ministry record that Russian engineers, invited by the Meiji government, provided guidance, and the pechka was modified to suit the lives of Japanese people using locally available materials. Today, pechkas can still be seen in places like the Historical Village of Hokkaido, the former NAGAYAMA Takeshiro Residence, and the former Mitsubishi Mining Dormitory. In recent years, the thermal efficiency and heat retention of the pechka have garnered renewed attention due to environmental concerns, and new research incorporating the latest technologies has begun.

People gather around its warmth, engaging in casual conversations. One of the few joys of a cold winter is found around the pechka. The lyrics and music that evoke such scenes continue to be loved by many, even 100 years after their release.

This song for elementary school students was published in the early Taisho period.

As with all shouka of this era, neither the lyricist nor the composer has been made public and remains unknown to this day.

The place where the lyrics were set has also not been identified.
And surprisingly, it has not been selected for inclusion in the “100 Best Japanese Songs,” making it difficult to understand the literary lyrics,
The lyrics are no longer included in textbooks, perhaps because of the difficulty of understanding the literary lyrics.
However, the original scenery of the summer sea in Japan, which is being forgotten, can be found here.

Passing through a forest of pine trees, perhaps a windbreak, one comes to a stretch of beach.
At a nearby fishing port, nets are drying and the smell of the sea is in the air.
All that can be heard is the charming voices of children and the sound of the waves lapping against the shore.
As dusk approaches, more and more boats with fishing lights (fish-collecting lights) are seen offshore.

Nowadays, the summer sea is a beach resort with elaborate performances for young people,
However, until around the 1970s and 1980s, the sea was known as “Kaisui Yokujyou (bathing beach).
And there were only a few huts selling yakisoba (fried noodles), uninspired ramen, curry and rice, and shaved ice.
That was the scenery of the summer sea.

Just like the song, beautiful time passed slowly and unobtrusively.

Even now, you might be able to enjoy such a scene at a beach near a not-so-famous local fishing port.

The Tea-Picking Season Heralding Early Summer

“Cha-tsumi” is a famous Japanese song that depicts the season from late spring to early summer. The “tea” mentioned in the song refers to Japanese tea. Japan’s representative “green tea” is an unfermented tea that doesn’t undergo fermentation, which has the benefit of preserving the natural freshness and nutrients of the tea leaves while retaining abundant antioxidants. In contrast, “Oolong tea” is semi-fermented, and “black tea” is fully fermented, all made from leaves of the same “tea plant.” These young leaves plucked from tea plants transform into our familiar beverages through various processing methods.

Qwert1234 – Qwert1234’s file, パブリック・ドメイン, リンクによる

The Significance of “Hachijyu Hachiya” and Agricultural Culture

The “Hachijyu hachiya (Eighty-Eighth Night)” sung in this song refers to the 88th day after “Risshun” (Beginning of Spring), one of the twenty-four solar terms, when the weather stabilizes, making it easier for tea picking. This important agricultural milestone, usually falling around May 2nd each year, signals the full-fledged beginning of farming activities. During this period, there is a risk of late frost called “Osojimo” occurring from chilly nights to dawn, potentially damaging crops. Despite this frost risk, tea picking is conducted during this time because the new buds contain the richest umami components and nutrients like catechins, producing aromatic high-quality tea leaves. Moreover, this “first flush” tea harvested during this period is particularly valuable and serves as a crucial source of income for tea farmers. A few days after Hachijyu hachiya comes “Rikka” (around May 6th), the beginning of summer according to the calendar. The song gently conveys the arrival of an extremely busy season for farmers.

painted by 長谷川等伯, calligraphy by 春屋宗園 – 1. Brill.com [1], 2. Omotesenke.com [2] , Omotesenke Fushin’an Foundation, パブリック・ドメイン, リンクによる

Tea Culture and Its Historical Development

The culture of enjoying tea has a long history, dating back to the reign of Emperor Shoumu in 729 AD, as recorded in ancient texts. Initially, it spread widely among the warrior class and became material for feasts. However, the concept of “Wabi-cha,” which sought simplicity and the spirit of Zen, emerged, leading to the spread of “Cha-no-yu” by figures like Sen no Rikyu. This tradition has been passed down to modern times as “Sa-do” (the Way of Tea).
In Sa-do, Matcha—now popularly used in chocolates and ice cream—is served as ground tea leaves. On the other hand, Sencha, which uses whole leaves without grinding, is commonly sold even in PET bottles. Naturally, the price varies greatly depending on the quality of the leaves and processing methods. Japanese tea culture has thus evolved with the times while maintaining its essential values.

不明 – “Letters from Japan” by Mrs. Hugh Fraser, New York, The Macmillan company; London, Macmillan & co., ltd.. 1904, パブリック・ドメイン, リンクによる

Origins and Spread of the Tea-Picking Song

According to one theory, this song is said to have roots in Uji City, Kyoto Prefecture, and the parts enclosed in quotation marks are considered citations from tea-picking songs sung there since ancient times. However, even after research by local historians, there is still no evidence to support this claim. Since tea harvesting requires intensive labor, there have always been migrant workers known as “Chatsumi musume” (tea-picking girls). As the timing of harvesting varies from region to region, it’s also speculated that the song spread gradually as workers moved from early harvesting areas to later ones.
This song is also known for its rhythmic nature, often accompanied by hand movements, and enjoyed in places like kindergartens and elderly care facilities. Its simple yet pleasant rhythm has become an important cultural asset that remains in the hearts of Japanese people across generations.

Tea-Producing Regions Throughout Japan

While Shizuoka Prefecture is famous as a tea-producing region, places like Yame in Fukuoka Prefecture, Chiran in Kagoshima Prefecture, and Sayama near Tokyo in Saitama Prefecture are also well-known. The soil and climate conditions of each region produce teas with distinctive flavors. In modern times, these traditional tea-producing areas have also gained attention as tourist destinations, with increasing numbers of visitors enjoying tea-picking experiences and the scenic beauty of tea fields. Japanese tea has transcended being merely a beverage to become a symbol embodying Japan’s natural features and culture.

100 Best Japanese Songs.

This is the third most famous tea plantation in Japan, closest to Tokyo.

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.

不明 – in the site of http://www.asahi-net.or.jp/~SG2H-YMST/yamatouta/ ;Website「やまとうた」 , パブリック・ドメイン, リンクによる

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.

Gratitude for the Harvest and Prayers for the Coming Year

Muramatsuri is a vital community event held in autumn across various regions of Japan, primarily conducted to thank the gods of the land for a good harvest of agriculture (mainly rice cultivation) and to pray for a bountiful harvest in the following year. This festival is not merely a regional event, but serves as a sacred ritual that expresses deep respect for nature’s bounty and confirms the spiritual connection with the gods. In agricultural villages welcoming the harvest season, it becomes a precious time to celebrate the fruits of a year’s labor together with the gods and express heartfelt gratitude.

Autumn Festival at Emishu-guu, Tenmangu Shrine in Shikama Ward, Himeji City ( Hyougo Prefecture)

Coexistence with the Eight Million Gods

Japanese gods are called Yaoyorozu no Kami (The gods dwell everywhere.), and they are believed to dwell in various places throughout our lives: rice paddies, fields, mountains, oceans, kamado (places where fire is handled), and countless other locations. Although usually invisible to the eye, people invite these gods into their homes and communities, holding festivals to show their appreciation. This worldview reflects the ancient Japanese belief that sacred power resides in all aspects of the natural world, a concept that continues to resonate in many people’s hearts even today.
Despite influences from foreign religions such as Buddhism and Christianity, Japan has never lost its reverence for the Shinto belief in the yaoyorozu no kami. Furthermore, even in the 21st century, we can observe how animistic culture continues to blend seamlessly with Japan’s high-tech orientation. This phenomenon can be attributed to Japan’s cultural diversity, inclusiveness, and deep sense of coexistence with nature.

Dousojin ( traveler’s guardian deity )

Shinto’s View of Nature and Its Modern Legacy

Shintoism has long been rooted in the worship of nature and the veneration of ancestors, maintaining animistic beliefs that gods reside in mountains, rivers, trees, and other elements of nature. This deep connection with daily life and local communities allowed Shinto to coexist harmoniously with foreign religions. For instance, when Buddhism arrived in the 6th century, instead of conflicting with Shinto, it merged to create a unique religious tradition called shinbutsu-shuugou (syncretism of Shinto and Buddhism), which shaped Japan’s distinctive spiritual landscape.
Even in the 21st century, this animistic worldview remains deeply embedded in Japanese culture, naturally blending with modern technology and subculture. The prevalence of anime and video games featuring themes of spirits and the power of nature reflects Shintoist values, demonstrating that the belief in spirits residing in natural objects continues to be part of people’s daily lives.

By Indiana jo – Own work, CC BY-SA 4.0, Link

Embraced by the Festival’s Melodies

During the festivals, people sing, dance, and enjoy themselves with the gods using traditional instruments: the fue (flute) and taiko (drums). The powerful “don” sound of the drums and the beautiful “hyarara” melody of the flutes resonate throughout the village, creating a sacred atmosphere. These traditional instrumental sounds play a crucial role in welcoming the gods and expressing gratitude, while also uniting the hearts of all participants.

After the autumn festival concludes, the villagers begin preparing for winter. The festival represents Japanese wisdom of living in harmony with natural rhythms, marking the seasonal transitions and maintaining awareness of nature’s cycles.

Tsuchiura City Yasaka Festival (Ibaraki Prefecture) , By NU-Xs – Own work, CC BY-SA 4.0, Link

In Japan, “New Year’s” is an incredibly significant seasonal celebration. It marks the start of the year and serves as a chance for a fresh mental and physical reset.

To welcome “Toshigamisama,” the deity of the New Year, people adorn their homes with “Kadomatsu” on auspicious days at the year’s end, prepare “Kagamimochi” and ceremonial sake, all in readiness for the welcoming ceremony. From New Year’s Day until the 3rd, known as “Sanganichi,” it was customary for families to peacefully spend time with Toshigamisama. Until the 1970s, shops would uniformly close, allowing homemakers to prepare “Osechi Ryouri,” dishes that could be made in advance, as they wouldn’t need to work during that period. Families would gather around the kotatsu, enjoying mandarins, visiting relatives and friends to exchange New Year’s greetings, while adults would share “Osechi Ryouri,” and sake from noon… that was the norm back then, an era without convenience stores like today.

Relatives living apart would also come together, and children eagerly awaited receiving “Otoshidama,” a New Year’s gift of pocket money. Cousins would gather, engaging in activities like flying kites, spinning tops, or playing “Hanetsuki” – an era without video games.

Traditionally, until the 15th in the new year, or shortened to the 7th in the Kanto region, “Matsunouchi” was observed. It’s a period where Toshigamisama is entertained at home, before gradually returning to the routine as the cold winter persists.

This song beautifully portrays the anticipation of children eagerly awaiting such “New Year’s” celebrations, expressed in simple yet heartfelt words, making it a timeless and cherished song sung across generations. HIGASHI_Kume, the lyricist, is known as the first person in Japan to write lyrics in colloquial language.

Selected as one of the”100 Best Japanese Songs”.

By the way, “Gantan” and “Ganjitsu” are often used interchangeably, but the character “Tan” is said to represent the rising sun depicted by a single horizontal line beneath the sun, signifying the morning of New Year’s Day.