When lyricist Shen Zhi (慎芝) adapted the Japanese “Kitaguni no Haru” (北国の春) into Mandarin as “Rong Shu Xia” (Under the Banyan Tree) in 1979, she did more than translate words — she transplanted emotion from a northern Japanese village into the warm soil of Taiwan. The change of scenery, from birch and snow to banyan and sunlight, reflected not only geography but also identity.
當慎芝在 1979 年將日本歌曲《北國之春》改編為中文的《榕樹下》時，她做的不僅是翻譯文字，而是將情感從日本北方的村莊移植到台灣溫暖的土地上。從白樺與白雪到榕樹與陽光，這樣的景象轉換，不僅反映了地理的差異，也象徵了文化的認同。
1. The banyan tree in Taiwanese life (榕樹在台灣人的生活中)
In Taiwan’s landscape, the banyan tree (榕樹) is more than just a plant; it is a living monument. Its broad canopy and hanging roots provide generous shade in town squares, temple courtyards, and schoolyards. Before air conditioning and cafés, people gathered “under the banyan tree” to rest, chat, play chess, or wait for friends. It symbolized community, shelter, and continuity — a witness to everyday life.
在台灣的景觀裡，榕樹不只是植物，更是一座「活的紀念碑」。它濃密的樹冠與垂掛的氣根，為街頭廣場、廟埕與校園帶來蔭涼。在冷氣與咖啡館尚未普及的年代，人們習慣「在榕樹下」乘涼、聊天、下棋或等朋友。它象徵著社群、庇護與延續——是一位日常生活的見證者。
In literature and folk songs, the banyan often represents a place where memories linger and time stands still — a tree that outlives youthful love yet keeps it alive in spirit. Thus, “Under the Banyan Tree” instantly resonated with listeners, evoking a shared nostalgia more local and intimate than Japan’s “northern spring.”
在文學與民謠中，榕樹往往代表著記憶停留、歲月凝結的所在——一棵見證青春愛情卻讓回憶長存的樹。因此，《榕樹下》一推出便引起共鳴，喚起聽眾共同的鄉愁，比起《北國之春》的北國意象，更顯親切與在地。
2. Shifting emotional geography (情感地理的轉換)
The original Japanese song, “Kitaguni no Haru,” speaks from a nation divided by climate — north versus south, cold versus warmth — and of the longing for home and family. Taiwan, however, is subtropical; its nostalgia carries different textures: afternoon heat, slow breezes, and the golden hue of late sunlight. By setting the song “under the banyan tree,” Shen Zhi anchored the feeling of longing not in distance, but in time — the lost simplicity of youth and first love, rather than the separation caused by travel.
原作《北國之春》描寫的是一個氣候南北分明的國度，訴說著對故鄉與家人的思念。然而台灣屬於亞熱帶，懷舊的色彩不同：午後的熱氣、緩慢的微風、與金黃的夕照。慎芝讓歌曲的思念不再與距離有關，而是與時間有關——那份對青春與初戀的追憶，而非遠行的離愁。
3. The 1970s sentiment (七〇年代的情懷)
In Taiwan during the late 1970s, society was modernizing rapidly. Television, urban migration, and social change created a mood of mixed hope and melancholy. Songs like “Rong Shu Xia” offered listeners a comforting bridge between past and present — rural imagery wrapped in a modern melody. The banyan tree stood as a gentle reminder of one’s roots amid change.
七〇年代末的台灣正急速現代化。電視、都市化與社會變遷，讓人心情複雜、既期待又感傷。像《榕樹下》這樣的歌曲，成了連結過去與現代的橋樑——鄉村意象包裹於現代旋律，帶來一份溫柔的安慰。榕樹因此成為動盪年代裡提醒人們「不忘本」的象徵。
4. Enduring symbolism (歷久不衰的象徵)
Even today, the banyan remains one of Taiwan’s most recognizable symbols. It appears in place names, parks, and poems. To “sit under the banyan tree” still suggests rest, reflection, and returning to where one once belonged. The song captured that sentiment perfectly — blending a Japanese melody with a Taiwanese heart.
直到今日，榕樹仍是台灣最具代表性的自然符號之一。它出現在地名、公園與詩歌中。「坐在榕樹下」依然意味著歇息、思索、與回歸原點。這首歌精準地捕捉了那份情懷——以日本旋律，唱出台灣的心。
In short (總而言之):
“Kitaguni no Haru” sings of returning to one’s homeland, while “Rong Shu Xia” (榕樹下) sings of returning to one’s heart. Both long for spring — but one finds it in snowmelt, the other in shade.
《北國之春》唱的是「回到故鄉」，《榕樹下》唱的是「回到心裡的故鄉」。兩者都思念著春天——一個在融雪裡，一個在樹蔭下。
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相關文章 (See also)：
1) 托塞利《小夜曲》聆聽札記 (2025)
2) 浜辺の歌 (Hamabe no Uta) (2025)
3) 月光小夜曲 (2025)
4) Echoes of a Distant Melody (2025)
5) 小蜜蜂挖土 (Playing With a Gardening Trowel) (2012)
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