The first Hakka poetess who wrote in Hakka dialect.

As early as the Japanese occupation period, some "big bosses" of Hakka literature began to admire mother tongue writing, among which Wu and others, the earliest pioneers, began to write in Chinese during the Japanese occupation period to spread the beauty of Hakka. Among them, Du Pan Fangge, the first female poet in Taiwan Province who wrote in Hakka dialect, is a bloody poet whose ancestral home is Wu.

Du Pan Fangge's birthday was when the gentry in Hsinchu and Xinpu were surnamed Pan, and his mother was a devout Christian. He lived in Japan with his father who studied law in Japan as a child until he returned to Taiwan Province Province when he was in primary school. 1 1 year-old, she read a poem describing that the flowers of lotus plantain are very red, such as "the color of blood sample". She was shocked and kept thinking about the usage of the word "blood". It can be seen that she was very sensitive to language and writing at that time, especially to poetry.

When she was fifteen or sixteen, she had written poems, essays and novels in Japanese, but she kept them for herself. Du recalled that when she was young, she read some world famous books and expected to write novels. But when she was 23 years old, she took a novel to Taipei to show it to the editor, Mr. Li. The editor said that she was not cut out for novels, but for poems. When she was old, she recalled that she might really be influenced by this sentence and shifted her focus to writing poetry. Her first poem, Spring, was originally written in Japanese. With Mr. Wu's encouragement, he translated and published this poem. This publication draws attention to the infinite potential of this Hakka poetess.

In the past conservative era, Du Panfang Pavilion was one of the few Hakka women who had received a complete education. Free love at the age of 24, married to Dr. Du, moved to Zhongli, had seven children, lived in poverty, taught flower arranging to make a living, was betrayed by her husband in marriage and immigrated to the United States. Fortunately, in the hard life, she read a lot of literary works, kept a diary, accompanied by poetry in loneliness, and blossomed in literature. Up to now, there are many literary masterpieces left by her father on her bookshelf.

In her early years, she wrote essays and sentences in Japanese, and her concise and capable poems were the first among Hakka women with female characteristics. She is good friends with Chen Xiuxi, a poetess of Li Poetry Society, and published her works in poetry magazines all the way. It was not until the 1960s that she began to write Chinese poems, the first of which was Acacia. The first book is to celebrate birthdays.1A collection of Chinese and Japanese poems published in March, 977 officially entered the new poetry circle in Taiwan Province Province. 10 published in June, 979, and advertised as "the most representative modern poetry anthology in postwar Taiwan Province province", namely, the representative poems of Ms. Du Pan10 were selected, whose real name was Pan Fangge at that time. From/kloc-0 to the mid-1980s, he tried to write in his native language (Hakka).

After Birthday, Ms. Du Pan successively published China's poetry collection Huaishan Wanhai, China Hakka's poetry collection Chaoqing, Chinese and Japanese English poetry collection Yuanqian Lake, poetry collection Feng Qinglan Bo, poetry collection Lotus Blooming Season and Japanese poetry collection Save the Layer. Judging from the writing language family and quantity, Ms. Du Pan has written about 50 Japanese poems, 100 Chinese poems and 70 Hakka poems, as well as sporadic essays and short stories.

In literary activities, Ms. Du Pan is a colleague of "Li" Poetry Society (joined by 1965), the president of Taiwan Province Literature and Art Magazine, and the president of "Female Whale" Poetry Society (since 1995). Regarding the "poetic viewpoint", Ms. Du Pan once put forward such a viewpoint: "My poetic viewpoint is the viewpoint of death. Die without regret, and don't carry today's good and evil deeds to tomorrow. It is my ideal to live like a day. In the understanding of death, understanding was born; For the reality at the moment, the relationship between people, natural scenery, leaves and smiling faces of roadside children have all become precious memories in my poetic vision. Language is a mirror reflecting the soul, and we can't just indulge in empty dreams. In daily life, being immersed in too much sadness is the reason why the mind can't express its proper language, so holding the image of' death view' and transcending' death line' is my' poetry view'.

1966 du pan Fang ge 4 1 year old. One day, she suddenly realized: Will her years be lost in the repeated burden of giving birth, raising children, having another child, raising children and endless housework? Where was the dream of a literary girl before? Unexpectedly, I no longer dream and there is no trace to be found. Are you willing to spend your life like this? When she was old, she recalled that the dilemma of "being a good mother" and "becoming a poet" was complete from her youth, which became a constant struggle and conflict in her past life until she entered her twilight years. After the children got married one after another and left the nest one by one, she was finally freed and released.

Her life is like a witness to the rise of female consciousness in Taiwan Province Province. Before the beginning of the women's movement in Taiwan Province and the rise of feminism, a generation of intellectual women, represented by Du Fu, was under the shackles of the traditional social structure and family structure, bearing endless burdens. Those heavy burdens are enough to obliterate their happiness and the value of self-existence. They are lonely and bitter. In her poems, there are many feelings and female intentions about motherhood, which is the most discussed focus in her works. Among his works, Peach Blossom under the Moon, Ping An Opera and Mid-Autumn Festival are the most cited and discussed works in many literature courses at present. These three poems are all written in Hakka dialect, full of images and reflections.

Ping' an opera

Every year is a year of peace.

Be careful every year.

I only know how to obey a safe man.

I only know how to put up with a safe person.

Watch the Ping An Opera around the Theater.

This is your pocket, and you are willing to earn it.

As many peaceful people as possible.

Willing to stay under the theater shed

Sugarcane-biting plum alkaloid

Keep him alive.

look

Ping An Opera.

Brother Du Panfang is really valued by everyone, and she met her deity in literary forums or poetry meetings only after the 1990s. Her real life was produced and broadcast by Chinese TV company as a series "Woman Living on the Cross", with Rene Liu as the heroine.

In her poems, a large number of Hakka writing meanings and female symbols are released, from female body to motherhood, to the deconstruction and symbolic significance of ethnic land, which makes her works become the representatives of studying Hakka women's writing one after another, and won the highest honor of Taiwan Province Literature Award in recent years. For example, this year's 80-year-old woman often appears in the literary camp to talk about poetry with the younger generation. Compared with the female writers who are active in Taiwan Province's literary world, Du Pan Fangge is of more contemporary significance and the first Hakka female writer.