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In this study it was analyzed by comparing the plants poems to song material and the four seasons of the plants that are poems in love part in Hachidaisyu. In that way, in the process of fixing the technique and the image to be created, there is a range of songs that are preferred or limited because they are love songs, such as “Asagi / Ayame / Autumn leaves” It was confirmed by. The singing material of the plant in the love part of the Hachidaisyu uses the singing material openly while utilizing the application or transformation, keeping the common singing material since the Kokinnwakasyu, and incorporating its own special plant material. Compared to this, in the four seasons part, several songs are firmly linked to each season, so the plant is limited and is regarded as a variation that hardly changes. In the section, there seems to be an attempt to incorporate various plants in the later stages, but it does not reach the aggressiveness and diversity of love songs. Also, a plant song material that is suitable for making songs that are inspired by plants and have a love story is whether the plant itself is connected with the sense of the season or not. If the technique is possible and it can be taught or developed, it has been found that it maintains a different way of being engulfed than the seasonal song. In other words, even in the same plant, the function is properly used for seasonal songs and love songs.