Similarities and differences between Liu Zongyuan's and Liu Yuxi's landscape poems.

Liu Zongyuan attaches great importance to the content of the article, and advocates that the text should be used and the Tao should benefit the country and the people, which is practical. He attaches importance to the social function of literature and emphasizes that literature should be beneficial to the world. He advocates the perfect combination of ideological content and artistic form, points out that writing must be serious and emphasizes the importance of writers' moral cultivation. He admired the articles of the pre-Qin and Han Dynasties, and proposed to learn from Confucian classics, Zhuangzi, Laozi, Li Sao and Historical Records. And learn from it, thinking that it can be used by me, but don't give up eating because of choking. In terms of poetic theory, he inherited the tradition that Liu Xie advocated Bi Xing and Chen Ziang advocated Ji Xing. It is consistent with Bai Juyi's proposition about satirical poems in the Yuan zaju Jiushu. His theory of poetry and prose represents the progressive tendency of the literary movement at that time.

These characteristics of Liu Yuxi's poetry are close to the poetic style of advocating character and paying attention to musical beauty in the prosperous Tang Dynasty. Some seniors have pointed this out as a whole. For example, Cai in Song Dynasty said, "Liu Mengde's poems are both high and beautiful." (Xi Qing's Poems are quoted from Tiaoxi Echoes) Hu Yinglin said in the Ming Dynasty, "Dreams are powerful." Zhou of the Ming Dynasty said that Liu was the "Sao ancestor of the prosperous Tang Dynasty" (Secret Language of Sao altar). Weng Fanggang pointed this out from the integration of seven-character quatrains. He said, "In the mid-Tang Dynasty in the sixties and seventies", "Only Liu Mengde and Li Junyu were able to drive in the prosperous Tang Dynasty." (Zhou Shi Shi Hua) Fang quoted a specific chapter, saying that Liu Yuxi's poem Shicheng was "comparable to martial arts" in the prosperous Tang Dynasty (Zhao Wei Zhan Yan). Liu Yuxi's poems were widely circulated in the Tang Dynasty. In the southwest minority areas of Jingkou (now Zhenjiang, Jiangsu) and Xiangyang, folk songs are sung endlessly (biography of Liu Yuxi in the old Tang Dynasty, written by Liu Shangshu, followed by Hu Zai's "Tiaoxi Fishing Hidden Conghua" (Volume XIII). Later scholars learned from Liu Yuxi from different aspects, and each gained something. There are successors to his Zhuzhi Ci. Su Shi also wrote Zhuzhi Ci, but he mainly studied Liu Shi's satirical art, so his poems were full of criticism (Houshan Poetry). Su Zhe, on the other hand, likes Liu Yuxi's poems which are "meaningful and full of twists and turns" (Biography of Meng Tong's Poetry Notes). Wang Anshi's "Seven Rhythms Like a Dream" (Zhan Yan of Zhao Wei), Xu Wei and Yuan Hongdao's "All Seven Extremes are in the Order of Dreams" (Jiang Zhai Shi Hua). Liu Yuxi's view that the words used in poetry must have their origins was later adopted by Jiangxi Poetry School. Huang Tingjian and Chen Shidao flaunt their brand-new lives, and often regard Liu Yuxi's famous works as their own poems (poet Yu Xie, Ren Yuan's Poems on the Valley, Poems on the Back Mountain, etc.). Some of Liu Yuxi's poems with ordinary content and superb skills have also been adopted by Jiangxi Poetry School.