His real name is Wu, a native of Taicang, Jiangsu. Wu takes parting as the center, takes the historical reality in the late Ming and early Qing dynasties as the theme, reflects the social changes of mountains and rivers changing hands, and depicts the picture of life in turbulent years, aiming to preserve history with poetry. His seven-character rhythmic poems can best reflect his artistic style and achievements, such as Yuan Yuanqu, Listening to a Female Taoist Playing the Piano and Being Quiet, Yuan Huqu, Pipa Xing, Old Prostitute Facing the Huaihe River, He Yong Palace Ci, Songs of the South, Biography of Song Aishan, etc. He has made outstanding achievements in vividly reflecting the truth of social history, which is higher than other contemporary poets. His poems pay more attention to the fate of historical figures. His singing style is deeply influenced by Bai Juyi in narration, but it is closer to Li Shangyin in usage and rhetoric. In fact, he combined Li Shangyin's colorful brushwork with Bai Yuan's narrative poems, making his songs gloomy and desolate, magnificent, flowery in language and rigorous in rhythm. He also paid attention to the misuse of even sentences and scattered sentences, and attached importance to the harmony and symmetry of timbre and color, so he opened and closed freely, and the timbre was wonderful, forming his own unique style in his creation. The world calls it "plum village style".