The late Tang Dynasty is a period of gradual decline of Tang poetry. At first, there were two famous poets, Li Shangyin and Du Mu. They were called "Little Du Li". Their novels "A Hundred Rhymes in the Western Suburb" and "Poems for Feeling" have grand themes, which can inherit the similar works of Lao Du. Li Shangyin's seven methods and Du Mu's seven unique achievements are even higher. In the case that the Seven Laws have been excavated by predecessors in many ways and are almost unsustainable, Li Shangyin has sprung up suddenly and is unique. He made careful arrangements for language, antithesis, melody and allusions, and formed a rich and exquisite style, which became the brilliant sunset glow of Tang poetry. In particular, some "untitled poems" expressing love, such as the cloud "Spring silkworms die, and candles weep at night"; "Although my body doesn't have bright phoenix wings, I feel the harmonious heartbeat of the sacred unicorn", lingering feelings and hazy images give people a unique aesthetic feeling. Du Mu's Seven Musts are fresh and elegant, elegant and smart, with simple language and profound meaning. Wang Changling, Li Bai and other quatrains can still form their own families.
After Li Shangyin and Du Mu, no poet has such great influence. Although there were many writers at this time, most of them were toddlers since the middle Tang Dynasty. For example, Fang Gan and Li Pin are Jia Dao and Yao He, and Han Wo is Li Shangyin and Wen. Only Pi Rixiu, Nie, Lu Guimeng, Luo Yin and Du Xunhe are slightly distinctive. Some of their works can inherit the realistic tradition and fluent style of the New Yuefu Movement, such as Du Xunhe's "Crossing Hucheng County", saying: "Last year, there was a county in this county, and the county people had no complaints. Now Zhu's slaughter in the county is the blood of living beings, but its boldness and even influence are far less than those of his predecessors.