--- In koran-sastra
sambil nunggu telur paskah
It's Only Love: Modern Japanese Love Song Lyrics as Texts
Nora Stevens
---------------------------------
Introduction
After hearing so many different kinds of songs , I began thinking
about the ones I had personally come across in my travels to Japan.
I realized that love--whether new, unrequited, or lost--is probably
the most common topic for songs in just about any country, and Japan
is no exception. I narrowed my field of study to Japanese love
songs, especially the more modern ones, mostly from the last decade.
However, it did not seem fair to compare Japanese love songs with
American ones, at the risk of falling into the "X is better than Y"
trap. As a linguist and Japanese major, too, I am perhaps most
interested in song lyrics--how each song says what it says. Thus, I
chose to zero in on the words of these love songs.
Finally, I wanted to examine several different styles of love songs,
from singer-songwriter material to pieces from one of the most
modern musical media: video games. I chose two examples of each
(usually one male and one female, where applicable) and proceeded to
analyze them both separately and together. I took special care to
consider devices such as structure and meter along with theme and
vocabulary. The full text of all songs used in this paper is
available here, and was translated by me (with professorial fine-
tuning) unless otherwise indicated.
Singer-Songwriters: Male: It's Only Love
Popular in the summer of 1994, this interesting piece portrays a
young man who thought breaking up with his girlfriend was the best
thing that happened to him--until he realizes he is still
overwhelmed by his feelings for her. Japanese (female) friends of
mine were captivated by this song, which shows what sensitivity can
lie beneath the typical Japanese guy's coolly stoic exterior. (Or
maybe it only showed what sensitivity they hoped was there, and
that's why it was so popular.)
The song has some narrative elements, which include the speaker,
alone, being drawn to the sea by forces beyond his control. In his
loneliness, he believes he may be subconsciously searching for
something--or someone. But if "it's only love," as he admits
ironically, why isn't it easier to forget the one you loved?
The personal pronouns Fukuyama chose for himself and his girlfriend,
boku and kimi, suggest a comfortable familiarity; furthermore, it
implies that both of them are still on equal grounds. By these
words, which mean "me" and "you" respectively, we can also tell that
he is addressing this piece to her personally. He uses
many "affection words" (koibito "lover", suki na "favorite"
or "beloved", ai "love", even the English love) and several that
bring to mind deep emotions (mune "chest" or "heart",
omoide "emotions", omoi "feelings", kokoro "heart", kanjiru "feel").
These, along with the dream motif (yume), figure largely in most of
the eight songs studied here.
These words alone do not effectively convey the author's sentiments,
however; it is more important to note his repetition of the words
wasureru "forget", hakobu "carry", and sarau "sweep away". Along
with images of the ocean (umi) and wind (kaze), such verbs imply a
longed-for obliteration ("I want to forget about you") or a
practically literal sensation of being carried away against one's
will ("So why is there still one more / Wave that sweeps away my
feelings?"). It may be noted that sarau, kaze, and umi show up in a
few other of these pieces as well.
The meter is fairly regular, and the five-line refrains have
beautiful V-shaped syllable counts: 12-11-10-11-12. There are, on
average, about 11 syllables per line. Furthermore, if one assigns
letters to each verse and stanza, an overall pattern emerges: AABC-
AABC-BC1. The last BC is centered around the song's one key change,
and the final C1 is actually an embellished refrain that combines
elements of the two previous C portions.
Many of its lines are neat parallels of one another, such as "suki
na yume o miteru" / "suki na kimi o miteru" and "kitto jiyuu na n
da" / "kitto shiawase datta". The repetition of "umi e kita no ka"
as well as most of the refrain reinforces the helplessness the
singer feels, yet the new elements in the second refrain and the
flourishes in the final reiteration keep our interest. The title is
sung four times, and can be seen as a kind of mantra for the singer--
reminding himself of a reason to put it all behind him.
Singer-Songwriters: Female: Rouge no Dengon
Written and performed by the star Arai Yuumi, this piece was both
the opening theme to Miyazaki Hayao's charming 1989 anime film Majo
no Takkyuubin (translated as Kiki's Delivery Service) as well as a
popular single, although I do not know which came first. Unlike most
animated film themes in the States, this one had nothing to do with
the plot. The heroine simply switches on a radio, and this song
happens to be playing--a unique introduction which may have helped
establish the song as music for the masses.
The narrative is clear: The singer's boyfriend has been eyeing other
women, and she boldly sets out by train to snitch on him to his
mother--but not before scrawling a message in lipstick on
(presumably) the bathroom mirror. Looking out the window as the town
flies past, she imagines how her leaving town must have shown her
boyfriend a thing or two. I found it interesting that we are never
explicitly told what her "lipstick message" is, but from the
context, we can assume it's a warning for her beau to shape up...or
she'll ship out.
There is a definite emotional distance between these two besides the
physical one. Arai uses watashi for herself and the roundabout ano
hito (literally meaning "that person" and used metaphorically as "my
boyfriend") for her lover. She is singing mostly to a third person
or to herself; there are only two lines addressed directly to her
boyfriend, in which she calls him "my darling"--probably in teasing
jest, as she has just threatened him with a hostile phone call from
his mother.
Like It's Only Love, this couple is separated, although it was a one-
sided decision made on the spur of the moment. However, this piece
differs from It's Only Love in its complete lack of remorse and
emotionally charged words. It is obvious that this girl feels she
has been done wrong; she is proud of her ability to turn the tables
on her unfaithful sweetheart and offer an effective ultimatum. In
fact, she shows the most positive emotion as she sings about
her "uneasy feelings" slipping by the wayside as she travels farther
from home (and her boyfriend) and closer to his mother (and
resolution). Koi "love" is mentioned only once, and negatively--in
the context of her lover's fickle habits.
There are three gairaigo, loan words, used in this song--four if you
count the incongruous ding-dong, translated as "quickly" here and in
other versions. They lend an air of modernity, certainly in keeping
with the image of the singer/narrator as a girl who is perfectly
comfortable taking matters into her own hands. Yet if we call that
masculine behavior (and that's a big "if"), we must also note her
use of traditionally feminine forms of speech such as sentence-final
no, wa, and kashira. She may be reasserting herself as a woman
through her language, but makes clear via her actions that she is no
wishy-washy "hai, anata" ("yes, dear") type. Of course, the medium
in which she chooses to express her bathroom-mirror threat is also
inherently feminine--another duality.
The meter is even, with the main verses following a 13-14-19-9
pattern fairly regularly. The song averages about 14 syllables per
line. Applying letters to the verses and refrains, we get AABC-ABC;
this final ABC cluster is not, however, heard in the movie--as it
appears when the song is listed under "Arai Yuumi" in the better
karaoke boxes, I assume it is featured in the single release.
Finally, the title appears twice, nestled into the last part of the
second line of two parallel verses.
Idols: Male: Kimi ga Inai Natsu
This beautiful song from 1997 was one of a series of ending songs
used for the television anime "Detective Conan" as well as being
included on one of Deen's own albums. Like the previous song, it has
no real connection to the show's plot, which allows it to be in
freer distribution and attain a level of popularity that may not
have been possible if it had had too specialized a theme. It was
written by Komatsu Mihou, a singer-songwriter who also wrote and
performed the opening song used in conjunction with this one.
Here, too, is a couple separated, apparently by mutual consent. Yet
the man continues to reminisce about the summers the two of them
spent together, lamenting the way his memories of her are fading,
and painfully enduring summers without her, year after year. Compare
this unwanted loss of memories with the way the singer in It's Only
Love wanted nothing more than to forget his love, yet was not
allowed to do so. In this case, although he realizes they decided to
call it quits, he is still "praying a little" for just a piece of
the happiness he knows he can never have again.
No pronoun is used to refer to the singer himself, but he uses the
familiar kimi for his estranged girlfriend--an appropriate choice if
he is indeed still pining for her. Yume appears twice, both in the
context of dreams he wants to pursue with his lover as well as
brilliant dreams of days past that, like his memories, are gradually
fading away. In that vein, wasureru and omoide o nakusu "lose
memories" also show up a couple of times; the depth of his feelings
is expressed in words like mune and kokoro, but the only vaguely
love-related word he uses is daisuki "beloved". The motif of
kotoba "words" is also introduced here and will show up in three
following selections as well.
What he lacks in heartfelt nouns, he makes up for in adjectives.
Yasashii "kind" and odayaka "gentle" are used in the same verse to
describe both his girlfriend and the waves which wash against her
and sweep her farther and farther away in his mind. To me, however,
the most touching words are amai "sweet", as in the "sweet summer
days" he's trying so hard to remember, and azayakasugiru "too vivid"-
-the summers spent apart that he's trying so hard to forget.
The verbs used reflect a yearning: oikakeru "chase after",
hanareru "be separated", and sarau, among others. Again, sarau shows
up in the context of nami carrying a loved one (or memories of her)
away. What I found most interesting was the shift from
modorenai "can't return" to modoranai "won't return"--and then back
again. Removing all possibility of their reliving their life
together, as he does by using "can't", makes it easier for him to
accept the choices they have made; saying they won't return implies
that the two of them may in fact be able to get back together, but
just don't want to or are stubbornly holding grudges (etcetera). It
is much more comforting, then, to use "can't".
A nearly perfect 13-17-17-14 meter in the verses--perfect if you
hear the doubled vowel in the middle of Verse 1's ikite--coupled
with a spotless 15-16-15-16 refrain and topped off with a poignant
22-foot tag makes for a tight, well-planned song, technically the
best of these eight. The lines average about 17 feet each, the
longest in this group, and the AB-AB-ABB stanza pattern is
pleasantly structured. Interestingly, the title is sung but once,
and though it may not have been the most immediate choice for a
title (given the four-time repetition of the song's longest and most
conspicuous line), it is perhaps the most accurate, summing up 24
lines in only eight syllables and drawing on the natsu no hi "summer
days" theme mentioned twice before.
Idols: Female: Nagai Aida
Probably the simplest of the eight songs studied here, this lovely
piece, performed by the duo Kiroro, hit the charts in spring 1998.
It is the first so far in this paper to discuss a relationship that
is going very well--so well, in fact, that the woman wonders if it's
time for her to admit she loves her boyfriend. She also attributes
her happiness and almost her well-being to him, another first (and a
polar opposite to the jilted woman in Rouge no Dengon). In keeping
with the two male selections above, the singer feels this love most
strongly when the two of them are separated, even if for a short
while: absence makes the heart grow fonder.
Her boyfriend calls from work to apologize for being late and making
her lonely, but she notes that his voice gives away his own stress
at being separated. She then admits what power he has over her, how
happy she is when they can finally get together. Realizing for the
first time the extent of her feelings for her partner, she suddenly
thinks "I love you"--but cannot bring herself to go that far. After
all, what's said is said. It should be noted that aishiteru "I love
you" is not said carelessly in Japan. More usually, a boy- or
girlfriend would say anata (no koto) ga suki "I like (some things
about) you", or anata ni muchuu "I'm crazy about you". "I love you"
is reserved for real love (Tse 55).
The woman uses the standard watashi for herself and both anata and
the much more informal kimi for her lover. Traditionally, kimi has
been used only by men, but there are no real equivalents in standard
women's speech. In order to achieve a higher level of intimacy in
the way she relates to her boyfriend linguistically, adopting kimi
was probably her best bet. Although from these pronouns one could
read the song as a two-person conversation, I am more inclined to
think of it as a monologue, that perhaps the singer is auditioning
to herself what she wants to say to her lover.
Again, mune and omoi make appearances, along with the aishiteru that
is so pivotal to the song's theme. It is interesting that, although
this song does contain wasureru as do the two male songs discussed
earlier, it is in the negative--"I want to be near you / So I won't
forget your smiling face." It may have been an unspoken wish of the
man in Kimi ga Inai Natsu, but the woman here is straightforward
enough to admit it out loud. Sarau is used as well, with positive
connotations rather than ones of lonely desperation.
The meter is irregular, but the average line length is about eleven
syllables. Each verse is similar in construction, and the two
versions of the refrain are alike as well. The song ends with a
cycle of the first refrain followed by the second refrain, repeated
once. As the refrain is what carries the important "aishiteru--
masaka ne" theme and her reasons for wanting to say it, this
repetition serves to highlight the joy felt in this relationship as
well as the difficulty she has making such a decision. The title has
as little to do with the theme as Kimi ga Inai Natsu's, and is
likewise sung only once, though it has an unusual position as the
first part of the very first line.
Video Game Songs: Released: Hikari no Naka E
The melody of this song first made its appearance in the 1991 home
console game Final Fantasy IV (FF2 in English) as Ai no Theme "Theme
of Love", the song that played through most scenes involving the
main hero's girlfriend Rosa. A variation on this theme was also used
during their wedding in the closing sequence. Three years later, it
was included on an album of orchestrated and lyricized Final Fantasy
songs. (There are eight games and counting in this popular series,
so the lyricists have plenty of songs to choose from.) Although
other video game songs can be like television theme songs--having
too much to do with the game's or show's plot to be popular any
other way--I was pleased that this one turned out so unmarked.
Dealing with unrequited love, a woman sings of the object of her
affection aloof and alone, almost in his own little world far from
companionship, while she struggles with the love for him welling up
within. She admires him as the woman in Nagai Aida admires her
boyfriend, saying he'll open locked doors and lead ill-fated ships
into the light. I suspect this last is a metaphor, perhaps
signifying that he can reverse the inexorable path of one doomed to
failure. As she associates herself with negative images--being at a
loss, allowing her memories to "break and scatter" as she tucks them
away--she is implying that she, too, can be lifted into the light
and rescued if only he would notice her waiting for him.
Because the two are strangers for all intents and purposes, it is
fitting that she use the polite watashi and anata to refer to
herself and her crush. The unrequited love and near idol-worship is
also a reason for her saying watashi but once and anata four times,
putting the focus on him even as she begs him to realize she's there
for him.
Although kokoro is used twice and aishita once, they don't seem to
have much to do with love. In fact, the first use of kokoro is in
describing the loneliness of her beloved's distant heart and the
second in her statement that her glazed eyes cannot convey her
feelings. Likewise, aishita describes only songs, not flesh and
blood. Omoide is described not as being carried off or lost, but
rather consciously locked away and allowed to shatter.
Regular meter is to be expected in a song where the words were put
to music that had already been around for three years, and indeed
the meter is precise. Two lines, with parallels elsewhere, feature
extra syllables, as in "dare mo inai kara" and "ima wa todokanai"
with eight instead of the usual seven, but this is acceptable even
by ancient Japanese standards of poetry. The average line length is
about eight syllables, the shortest among these selections--and
perhaps also natural when the words are but an afterthought. Stanzas
follow an AA-BBC-BBC pattern structurally (not musically), and we
are kept waiting for the title until the very last line.
Video Game Songs: Unreleased: Chikazuku Yokan
I chose to examine this piece because of its uniqueness. Written for
Final Fantasy VI (FF3 in English) but never used in the game,
Chikazuku Yokan presumably sat on a shelf somewhere until its
release on an EP of special and unreleased FFVI tracks. It was
lyricized for its debut and sung by the video game company's staff;
a karaoke version was also included on the CD. In this way, it can
be seen more as a regular commercial tune rather than a theme song,
the role it was written for but one it never filled.
Unfortunately, it is difficult to analyze because of its arcane,
fragmentary lyrics. It is also hard to pinpoint one singer and one
audience, especially because the verses are sung by different people
and the chorus by the entire group. However, we can note that there
is a feeling of going onward and upward, a deep and unending love,
dreams that won't be forgotten, and a strong premonition of
beautiful things to come. Anata is used twice, in the context of
being loved and protected, but there is no first-person pronoun in
this song. To make matters worse, the first anata is sung by a
chorus of women, and the second by a mixed chorus--if there is one
voice, one person singing to an audience, we can't even be sure if
they're male or female.
For all that, though, love abounds. Words like suki, ai,
jounetsu "passion", kokoro, kanjiru, and even dakishimeru "embrace"
are really what help make this a love song. The line "I love you /
So much that I can't breathe" may be the most "love song-y" part,
along with the concept of protecting someone as long as love lasts.
Notice also the yume motif--chasing after dreams as in Kimi ga Inai
Natsu--and the wasurenai concept as in Nagai Aida. Sasou even shows
up in almost the same context as in It's Only Love: the wind
beckoning the singer onward, but not to emotions better left unfelt.
Kaze is an important element in this song, appearing without umi
unlike previous examples. The repetition of "sore dake...sore dake
(de ii)" puts an emphasis on simplicity while providing reassurance
at the same time.
Another feature of this song is the counterpoint that appears in the
second refrain and then in the reiteration of the first refrain.
Sung by a second all-male chorus, it embellishes what has already
been presented by the main chorus, usually with related verbs or
merely additional words that do not change the meaning--as in "Time
(As it passes)" and "Never again (No, never again)". They provide
additional information and varied views on whatever subject is at
hand, and above all make the refrains interesting, especially when
the first refrain with which one is already familiar is reworked in
such a refreshing way.
Although the verse meter is not regular, the two reworked refrains
follow a 9-10-9-11-9-9-11 pattern, and all other lines are between
seven and eleven syllables long, making for an average line length
of about nine syllables. The AAB-AAC-CC pattern, where C is a
revamped version of B, is straightforward and easy to listen to.
Television Themes: Drama: LA LA LA Love Song
The "trendy drama" Long Vacation debuted on Japanese television in
1996 and ran for eleven episodes. It was and is still incredibly
popular in Japan as well as throughout Asia, in part because its
male lead was none other than heartthrob Kimura Takuya of SMAP. The
show itself had a musical subtext, as Kimura's character was a piano
teacher with dreams of becoming a concert pianist. Having said that,
however, it is again nice to see an TV show's opening theme that
does not have anything specifically to do with the show's plot; the
song, like the show, still enjoys immense popularity.
For a refreshing turn of pace, LA LA LA Love Song continues on the
path of Chikazuku Yokan with a love that is the healthiest we've
seen so far. A man tells how he played hard-to-get while secretly
wishing he could be with a certain girl, glories in their chance
meeting, and exuberantly celebrates the full-fledged love they have
nurtured from seed. As in Hikari no Naka E, he also hints that he
had been an emotional wreck before she was in his life (using the
same "breaking into pieces" idea), and suggests that the two
kiss "until [they] stop breathing"--similar to Chikazuku Yokan's
declaration of love.
The pronouns boku and kimi, again, introduce a level of comfortable
intimacy; after all, "there's nothing for [the singer] to be shy
about" around his girl. "Love"--not ai, not koi, but English "love"--
is mentioned a whopping fourteen times, while neither of the
Japanese terms noted above appear at all. Such an overwhelming use
of gairaigo--not to mention "merry-go-round", "melody", "love song",
and the handful of lines sung by American model Naomi Campbell--
makes this piece hip and sexy, going much farther than Rouge no
Dengon's endearing modernity. (There may be unexpected side effects
for English speakers, though: the repeated lines "Wanna make love /
Wanna make love song--hey, baby" inspired one of my American friends
to call the song "cheap" and compare it to early Madonna.)
Kokoro pops up again, as it has in most of the previous songs, and
dakiyoseru, related to dakishimeru, reappears from Chikazuku Yokan.
One newcomer is kuchizuke "kiss" (note that it isn't the probably
more common loanword kissu; the writer may have considered that much
gairaigo superfluous). He touches on the kotoba motif seen elsewhere
as he sings of a love song more serious than words, and actually
speaks of the moment the two met, calling it a "miracle"
that "changed the color of our tears"--a metaphor describing the
change from tears of lonely sorrow to ones of giddy joy.
I enjoyed the English lines tucked into the mini-verses, especially
because they cleverly echo the lines that came before: brand-new
love plus changed tears, being one's shining star plus a starless
night. If one listens closely, one can even hear a "No, thanks!" in
the background after "'Mappira!' to yokomuite". If there's going to
be that much English in a song, at least it depends heavily on the
Japanese that's already in place.
Setting aside Campbell's phatic "Wanna make love" contributions and
splitting the eight-line verse and refrain into groups of four lines
each for consistency, we find a meter of about 10-8-9-9, give or
take a syllable, in the verses and about 10-12-10-7 in the refrains.
It fits well and goes down easy, so to speak. A very long piece, the
stanza pattern falls into something like ABCCD-AABCD-AAEAA, and as
the title falls into the last line of all those A's and B's, it is
most certainly hard to miss. This and the following song are the
only two in this collection to have "love song" in their titles,
disregarding the original title of Hikari no Naka E's melody.
Television Themes: Anime: Lum no Love Song
Urusei Yatsura, usually translated as Those Obnoxious Aliens, was a
serialized manga by the prolific manga-ka Takahashi Rumiko before it
was made into a television anime in 1981. The female lead, Lum, is a
beautiful oni-girl (a traditional Japanese demon) and an alien to
boot. She mistakenly believes the male lead has proposed marriage
and vows to be his forevermore--despite the fact that he, a
notorious lecher, simply cannot be stopped from eyeing other women.
Lum, who has a bad habit of extreme fits of jealousy, tries her
darnedest to keep him faithful with the liberal application of
electric shocks and other forms of tough-love punishment. This song,
the opening theme, does have a lot to do with the plot of the show,
but is still general enough to be reasonably popular on its own
(though it has never reached the level of any of the singer-
songwriter or idol pieces covered earlier).
The singer chastises her lover, or would-be lover, for not paying
more attention to her and for pretending she doesn't exist, despite
the fact that she loves him more than anyone else. Along with this
come two refrains bemoaning the fickle ways of men and wondering out
loud why they find it so difficult to love one woman and one alone.
The theme has some aspects in common with the spurned girlfriend of
Rouge no Dengon, and its admonitions to notice the singer awaiting
his love may also be seen in Hikari no Naka E.
Despite the informality and intimacy desired by the woman in this
song, she may still realize the distance between her and her
beloved: she uses watashi for herself and anata for him. There is
some feminine language, but not as much as in Rouge no Dengon (only
one wa, for example), and no loan words. The song does feature two
gitaigo, onomatopoeia describing actions rather than sounds: sowa-
sowa "fidgety" and kyoro-kyoro "looking all over the place
(nervously)".
Love shows up in suki (thirty-two times!), aishite, muchuu, and ai.
The yume motif shows up as the woman dreaming of her loved one, and
while there's nothing being swept off or forgotten in this piece,
all the loves a man insists on having are spread all over
confusedly. Following what was said earlier about "anata ga
aishiteru" versus "anata ni muchuu", the singer attributes the
former to her feelings and the latter to her lover's--rendering her
emotions for her one love as deeper and more sincere, even more
important than the mere infatuation the man experiences for girl
after girl.
The opening refrain, repeated once more and then again with changes,
has a surprisingly uniform 12-12-12-12 meter. While none of the
other portions are as consistent, the average line length is very
close at about eleven syllables per line. The stanzas are laid out
as ABCD-AD-A1, with the final A1 a version of A plus a trimmed
version of B. Unique among all the songs presented here, the title
of this piece is never mentioned within the song itself.
Phonetic notes (slightly technical)
VCCV words, like saratte and totta, can be pronounced in one of two
ways: with a long consonant, as is usual in speech, or with an
elongated vowel before the consonant. The latter is more common in
songs, as it sounds much more melodic and less choppy. It's simply
easier to carry the tune through vowels rather than consonants
(note, however, that the syllabic nasal n is a sonorant like vowels
are: you can sing through it just as easily). Saratte, then, is sung
as "saraate". Most words that fit this pattern are sung this way in
these eight pieces, with a few exceptions, emphasizing crisp
consonants rather than mellifluous vowels:
It's Only Love: natte, totta
Nagai Aida: saratte (in direct opposition to It's Only
Love's 'saraate')
LA LA LA Love Song: kesshite
Lum no Love Song: hito 'tte
---------------------------------
Works Used
It's Only Love. Written and performed by Fukuyama Masaharu. 1994:
BMG Victor, Inc.
Rouge no Dengon. Written and performed by Arai Yuumi. This version:
1989: Tokuma Japan Communications, Inc.
Kimi ga Inai Natsu. Written by Komatsu Mihou, performed by Deen.
1997: B-Gram Records, Inc.
Nagai Aida. Performed by Kiroro. 1998.
Ai no Theme. Composed by Uematsu Nobuo for Final Fantasy IV. 1991:
Squaresoft, Inc.
Hikari no Naka E. Written by Yamabuki Ririko, performed by Ohki
Risa. 1994: Square, Inc.
Chikazuku Yokan. Performed by Square staff members. 1994:
Polystar/NTT Publishing, Inc.
LA LA LA Love Song. Written and performed by Toshinobu Kubota with
Naomi Campbell. 1996.
Lum no Love Song. Written by Itoh Akira and Kobayashi Izumi,
performed by Matsutani Yuuko. 1981.
Tse, Peter. Kansai Japanese. Rutland: Charles E. Tuttle Company,
1993.
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