Characteristics: Deep feelings are its fundamental characteristics. Whether it is feeling time, expressing feelings, nostalgia for the past, and singing about things, all works are permeated with the poet's true feelings and have the charm of sighing. Just like "Although my body doesn't have the bright wings of a phoenix, I feel the harmonious heartbeat of the sacred unicorn" ("two untitled poems") and the word 14 written by Liao Liao, the pain of being blocked, the tacit happiness, and the ambivalence of being more valuable and embarrassed when being blocked. Another example is "even this bright flame of love, is there only ashes?" ("Four Untitled Poems"), on the surface, is a desperate sadness, but under the cover of despair, it reveals the warm feelings of acacia like spring flowers, which is particularly painful and infectious. Liu Xizai's so-called "sentimental tenderness" (Yi Jian's Poem Notes) and Zhang Caitian's so-called "tender sadness" (Li Yishan's Poem Correction) all refer to this feature of his poems. The lyric of Li Shangyin's poems rarely adopts the way of expressing his mind directly, but is especially devoted to understanding the meaning in graceful songs. Poets like to temper their artistic thoughts with twists and turns. He often avoids making positive lyricism, but uses the description of environmental scenery to render the atmosphere and set off feelings, such as Shooting the Sun, Love and Cui Yan in the Rockfall Pavilion, etc. He is good at banishing imagination and turning facts into virtual scenes, such as Notes for Northern Friends on a Rainy Night and the Goddess Chang'e flying to the moon. I like to embroider beautiful words, embed allusions, fine needles and dense lines, and heavy folds, resulting in grotesque and hazy poetic scenes, such as Jinse and Bi Cheng San. He also used a lot of metaphor to express his feelings, or satirized the present from the past, or pointed to people from things, which was often meaningful, ethereal and unreasonable, but memorable. The predecessors said that he was "always unable to utter a straight word, and his throat was blurred, or intermittent, so-called good at burying his thoughts" (Feng Hao's Notes on Yu Sheng's Poems), and the analysis was very pertinent. Of course, the deliberate pursuit of depth and music will also bring hidden ills. Some of the poet's works are confusing and obscure, and some even become "poetry puzzles" that can't be broken through the ages, which leads to the atmosphere of seclusion, and he is hard to blame. The basic style of Li Shangyin's poems is the combination of graceful and restrained songs and the connotation of "affectionate and graceful words" (Ye Xie's original poems). Under the influence of the poetic style of picking flowers and algae in the late Tang Dynasty, Li Shangyin's poems also have their own rich and delicate side. But he is not limited to gorgeous, but can be depressed in beauty and not lose weight in beauty, which is inseparable from his affectionate writing style. Among the writers with similar prose in the same period, if Li He is characterized by grandeur, Du Mu by handsomeness and charm, then Li Shangyin is just profound and graceful. Style: No matter whether Li Shangyin's poems are "hidden" or "hurt", they can't be completely separated. There is a wound in Tibet, and there is a wound in Tibet. It's just that the injury is both hidden and hidden, that is, "hidden injury" is its complete unique style and its overall style.