TAIWANESE POETRY

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INTRODUCTION

Taiwanese poetry was also initially passed down orally through generations, through ritual chants, myths, and work songs. The first true written poetry followed the arrival of Ming loyalists and Qing dynasty officials, with traditional classical Chinese verse (gushi) emerging. A wave of modernistic experimentation ended up creating a movement of nativism, where the "Taiwanese voice" was created. Let's take a closer look at Taiwanese poetry through the ages.

INDIGENOUS ORAL BEGINNINGS

As was the norm, Taiwanese poetry was also initially passed down orally through generations. Taiwan’s Austronesian peoples treated life as poetry and poetry as life. They passed on ritual chants, myths, and work songs. Among these works are the cascades of the Bunun tribe's "Eight-Part Harmony," the epic warrior tales of the Paiwan Kulalao, and the Amis Sea Festival Songs. (2)

FIRST WRITTEN VERSES

The first true written poetry followed the arrival of Ming loyalists and Qing dynasty officials, with traditional classical Chinese verse (gushi) emerging. Shen Guangwen is considered the father of written Taiwanese poetry. After he shipwrecked on the Island, he founded Taiwan's very first poetry societies.

During the Qing rule, poets adapted a classical style into local "bamboo branch lyrics". They used simple, everyday language to vividly capture the unique customs, foods, and social realities of early Taiwan.

During this time, a popular genre emerged. Traveling scholar-officials wrote strict seven-character regulated verses. Through them, they celebrated the natural, untamed beauty of Taiwan's landscapes.

In the mid-1500s, common working people developed an ancient folk poetry style known as Po-kua. They typically featured four lines with seven characters each and were sung alongside ancient guitars. People used them to express everyday raw emotions like romance, field labor, and the hardships of picking tea leaves.

During the subsequent Japanese colonial period (1895–1945), local intellectuals formed nearly 100 traditional poetry societies. They wrote tens of thousands of classical poems to peacefully preserve their Han cultural heritage against forced assimilation.

THE POST-WAR MODERNIST WAVE

After the Nationalist government (KMT) arrived in 1949, Taiwan experienced a massive influx of mainland writers alongside local voices. They began a vibrant modernist movement. They believed that new poetry is a horizontal transplantation, rather than a vertical inheritance. Lyrical and Modernist Societies formed. Among these, there were three that left a mark: Ji Xian's Modern Poetry Society, Qin Zihao's Blue Star Poetry Society, and Lo Fu and Zhang Mo's Genesis Poetry Society. They attracted 102 poets, forming a rare "tripartite" structure in Taiwan's literary history.

The Modern Poetry Society advocated for complete learning from Western modernism while abandoning traditional Chinese literature.

The Blue Star Poetry Society chose a moderate path. They emphasized the fusion of the classical and the modern, producing works that were elegant and subtle.

The Genesis Poetry Society moved toward extreme experimentation. Lo Fu, Yi Hsien, and Zhang Mo boldly introduced Surrealism, creating works filled with symbolism and metaphor.

THE NATIVIST AND LOCAL TURN - THE BIRTH OF TAIWANESE VOICE

Modernist experimentation had an ironic outcome - it brought about the rise of nativism, Xiangtu. In 1977, the "Nativist Literature Debate" altered the trajectory of Taiwanese poetry. While modernist experiments expanded poetic form and technique, they also brought localization. Poets began to use the most humble imagery—soil, rice paddies, a mother's hands. They formed the "Taiwanese voice". Wu Sheng (吳晟) was a representative. Xiangtu poetry stems from its anti-modernism—it rejects metaphor in favor of directness; it rejects universality in favor of locality.

An even greater breakthrough came when Xiang Yang (向陽) constructed the theoretical foundation for modern Taiwanese-language poetry. He proved that the language is capable of more than just speech; it can compose modern poetry with exquisite rhythm.

THE NEW CONTEMPORARY VOICES AND AVANT-GARDE

Martial Law was lifted in 1987. Ever since, Taiwanese poetry has exploded into a radically diverse, democratic, and experimental landscape. The new generation neither rejects the experimental spirit of modernism nor ignores the local experiences of Xiangtu. They find a balance between the two and frequently engage with feminism, LGBTQ+ identity, indigenous perspectives, and digital subversion. Key figures are Hsia Yü and Chen Li.

CONCLUSION

As is common in all cultures, the first Taiwanese verses were passed through generations orally. They say life as poetry and poetry as life. With the arrival of Ming loyalists and Qing dynasty officials, traditional classical Chinese verse (gushi) emerged. Shen Guangwen is considered the father of written Taiwanese poetry. After he shipwrecked on the Island, he founded Taiwan's very first poetry societies. "Bamboo branch lyrics", Po-kua, and strict seven-character regulated verses were among the most popular styles.

After the Nationalist government (KMT) arrived in 1949, Taiwan experienced a massive influx of mainland writers alongside local voices. They began a vibrant modernist movement. Ironically, this movement eventually brought about the rise of nativism, Xiangtu. Poets began to use the most humble imagery—soil, rice paddies, a mother's hands. They formed the "Taiwanese voice".

An even greater breakthrough came when Xiang Yang (向陽) constructed the theoretical foundation for modern Taiwanese-language poetry.

Martial Law was lifted in 1987. Ever since, Taiwanese poetry has exploded into a radically diverse, democratic, and experimental landscape. The new generation of poets has found an equilibrium between the experimentation of modernism and Xiangtu.

SOURCES

1. Image was created via Canva.com.

2. Taiwan.md. A History of Taiwanese Literature. March 24, 2026. Available at https://taiwan.md/en/art/history-of-taiwanese-literature/

3. Taiwan.md. Modern Taiwanese Poetry: An Unexpected Prophecy of Localization. March 23, 2026. Available at https://taiwan.md/en/art/taiwanese-modern-poetry/