Shih Zhi-Shan (1881-?)

Shih Zhi-Shan participated in the "Taiwan Cultural Association," paving the way for the new cultural movement. Along with Lai He and Wang Min-Chuan, he was hailed as one of the "Three Pillars of Changhua." 

Huang Cheng-Tsung (1886-1963)

Also known as Jian Ru, Huang Cheng-Tsung participated in anti-Japanese movements and cultural enlightenment activities in his early years. He was a pioneer of the vernacular Chinese movement and had a significant impact on both literary advocacy and the anti-Japanese movement.

Wu Shang-Hua (1893-?)

Styled Xiao-Xi and known as Zhong Zan, he was the nephew of the great scholar Wu De-Gong from Changhua. With a deep foundation in Classical Chinese, he had a keen interest in reading and excelled in poetry and prose. He played an instrumental role in the formation of the "Chong Wen Society," which was the first literary society established during the Japanese rule.

Lai He (1894-1943)

Originally named Lai He, also known as Lai Gui-He, he used pen names such as Lan Yun, Fu San, Zou Jie Xian, and An Du Sheng. He was one of the most emblematic figures representing the Taiwanese spirit during the Japanese era and a key leader in guiding the new Taiwanese literature towards its prosperity and growth. As a result, he is revered as the "Father of New Taiwanese Literature."

Yang Zong-Cheng (1894-?)

Styled Geng-Yun, he studied Classical Chinese at the Fu Chu Zhai Library in his youth. He participated in Changhua's traditional poetry society Ying Society. He also sponsored the activities of the Chong Wen Society. His poetry collection Yi Yuan Shi Cao is included in the anthology Ying She Shi Hui.

Chen Man-Ying (1896-1965)

Styled Xu-Gu and known by the pen name Yi Cun, his literary creations included traditional Chinese poetry, vernacular poetry, and novels. His greatest achievement lies in traditional Chinese poetry, with themes encompassing rural life and natural landscapes. His writing style is characterized by its simplicity, plainness, and tranquility, reflecting a pursuit of harmony between humans and nature.

Huang Chao-Qin (1897-1972)

Styled Lan Ting, with pen names Chao Jin and Nian Tai, he once participated in the "Taiwan People's Newspaper" to promote nationalistic ideas and advocated for the "Taiwanese Vernacular Movement." After the war, he was elected as the first Speaker of the Taiwan Provincial Parliament.

Huang Zhou (1899-1957)

Known as Xing Min, his writings mostly consist of current affairs commentary and essays. The former often contain moral lessons within the narrative, while the latter are known for their clarity and charm. Huang Zhou, who chose the name "Xing Min" for himself, was a new intellectual committed to awakening the public and revitalizing culture.

Shi Xi-Dong (1900-1985)

Styled Yi-Nan, he was immersed in Chinese classical studies from a young age under the tutelage of his father, Shi Ru-Qiang, laying a solid foundation in traditional poetry and lyrics. Together with Lai He, Chen Xu-Gu, and other poet friends, he founded the "Flowing Thoughts Club." He also became a member of the Ying Society later on.

Yang Song-Mao (1905-1959)

Pen names include Shou Yu, Cun Lao, Yang, and owner of Jing Xiang Xuan. In his youth, he taught at a private school and had a close relationship with Lai He, greatly influenced by him. His works are filled with a spirited sense of struggle and a critical spirit, often speaking out boldly in defense of farmers and workers. He was one of the most prolific writers of Chinese novels during the Japanese era.

Lai Xian-Ying (1910-1981)

Originally named Lai Cang-Xiao, pen name Xuan Ying, also known as Lai Tang-Lang, he was Lai He's fifth brother. His literary creations include novels, essays, and critiques, with many of his subjects being farmers. The central theme of his work explores the hardships of peasant life.

Wu Qing-Tang (1911-1995)

Pen names include Hui Sheng, Gu Ding, among others. Skilled in poetry and painting, he was also adept at acting and photography, rightfully considered an avant-garde youth. His literary works encompass new poetry, novels, essays, and drama. Due to his impoverished living conditions and the turbulent, sorrowful times, his works often convey a tone of melancholy and depression.

Do not curse life, do not lament your fate,

Know that in today's society, which youth doesn't share your plight;

What use is sorrow, crying is all the same;

Only wish to strike fiercely against the wicked society.

by Yang Song-Mao 

The night in the countryside is dreamlike and silent,

Yet a countryside night without the barking of dogs,

Is even more serene—

Almost making one believe that everything has fallen into utter silence.

by Lai Xian-Ying

Why does the shepherd show such tenderness to the lambs?

Is it a true expression of compassion?

Does the shepherd exist for the sheep?

Or do the sheep exist for the shepherd?

by Huang Cheng-Tsung

In spring, people are joyful; when spring departs, they are forlorn,

Its arrival and departure unnoticed by any, only the flowers blooming and withering are observed.

by Chen Man-Ying 

China's lack of advancement, unable to follow the rest of the world,

Is also because education is not widespread,

The failure to universalize education is largely due to the difficulty of memorizing Chinese characters.

by Huang Chao-Qin

Fish, animals born in water, cannot live outside of it. Then, are fish in water merely puppets constrained by their fate?

by Huang Chou