Mei's early poetry creation was influenced by poetry school. Later, because he cared about reality and was close to the people, his poetic style gradually changed, and he put forward a poetic theory that was tit-for-tat with Quincy School. He emphasized the tradition of The Book of Songs and Li Sao, and advocated that poetry creation must be inspired by events and things (A Poem to the Third Son of Han Hua, the Lord of the Five Koreas), and abandoned the flashy and ethereal poetic style.
In art, Mei pays attention to the imagery and implicit artistic conception of poetry, and puts forward the famous artistic standard (quoted from Ouyang Xiu's Poems on June 1) that "a painting is difficult to write in front of you, and the implication is endless", and advocates a dull artistic realm: a poem is difficult to write without the past or the present, and it is difficult to simply create. ("Reading Shao Buyi's Poems")
Mei's creative practice is consistent with her creative ideas. His poems are rich in realistic content and wide in subject matter. Knowing about rural life, he wrote some works that cared about the fate of farmers in his early days, such as Four Seasons at Home, Wounded Mulberry, Looking at Crops, New Cocoons and so on. Later, he wrote Tian Yujia, describing the disaster and pain caused by exorbitant taxes and miscellaneous fees to farmers. His masterpiece Rufen's Poor Woman, through the crying of a poor woman, profoundly reflects the tragic experience of the broad masses of the people. Some of his poems express his concern for state affairs. Such as "Xiangcheng to Snow" Part II, "The Original War" and so on. Other chapters, such as Bi Yin, Qiao Fu, The Mausoleum of Ouyang Yongshu and Hu Mengxing, show his hatred of conservative and decadent forces. He also wrote many landscape poems, including Cold Grass, Watching Cowherd Flute Crossing the River, Watching Cockfighting at Night and so on, which contained profound philosophy in ordinary scenery or things. Mei's poetry is plain in style and implicit in artistic conception. He is good at drawing clear and novel landscape images in simple and natural language. For example, A Journey to Lushan Mountain describes the desolate and quiet scenery in the mountains in late autumn. In addition, Dreams of a Thousand Miles, The Broken Moon and Chickens in a City (Send Ouyang Yongshu after Dreams), The most leisurely sleep on the shore, The Old Tree with Flowers Without Ugly Branches (Dongxi) and I don't know for a few days upstairs are all beautiful stories written by Italian language workers. However, his poems sometimes have a strange and clever side, such as The Yellow River and Dreams on the River, which are magnificent and different from his general style. Influenced by Han Yu and Meng Jiao, his poems tend to be overly argumentative and dull in art, and sometimes his language is too simple and blunt, lacking in literary talent. These shortcomings can be regarded as the price paid for correcting the flashy poetic style.
He made an important contribution to the development of the Song Dynasty. Ouyang Xiu called Mei's poem "like a witch girl, old age has its own residual state." Liu Kezhuang called him "the founder of the Song Dynasty" in Houhua. Gong Xiao said that he "got rid of floating habits, got rid of the extreme disadvantages of Kun style, kept the way of simplicity and quality, and stood out from others" (appendix to Mr. Wan Ling's Collection), and Hu Zai's Tiaoxi Fishing Hidden from Conghua Collection said that "Yu Sheng poets are plain and unique". Qian Zhongshu called him: "Advocating' plain' had a high reputation and great influence at that time."