Ouyang Xiu wrote more than 500 essays in his life, covering various genres, including political essays, historical essays, narrative essays, lyrical essays and notebooks, etc. Most of his prose is rich in content and vigorous, with an artistic style that is easy, natural, smooth and tactful. The narration is both euphemistic and concise; the discussion is slow but full of inherent logical power. The legal structure is both twists and turns and very strict. "On Clique", "New History of the Five Dynasties: Preface to the Biography of Lingguan", "Admonishment to Gao Si", "Drunkard Pavilion", "Fengle Pavilion", "Longgang Qianbiao", etc., are all recited through the ages. excellent work. Ouyang Xiu also pioneered the creation of notebooks in the Song Dynasty. His notebooks include "Guitian Lu", "Bi Shuo", "Testing Bi", etc. The articles are eclectic, lively, interesting, and often able to describe details and characters. Among them, "Guitian Lu" records the imperial legacy, official system, social customs and interesting anecdotes of scholar-bureaucrats, and introduces his own writing experience, which is very valuable. Ouyang Xiu's Fu is also very distinctive. The famous "Ode to the Sound of Autumn" uses various metaphors to describe the invisible sound of autumn so vividly that it makes people feel like they can hear it. This Fu changed the "regular style" since the Tang Dynasty to "San style", which is of pioneering significance for the development of Fu. Ouyang Xiu's poetry writing achievements are not as good as those of prose, but they are also very distinctive. Some of his poems reflect the suffering of the people and expose the darkness of society, such as "People Eat Waste" and "A Long Sentence to Yang Zijing's Prayer for Rain". He also discussed current affairs and criticized corrupt politics in his poems, such as "A Letter from Scholar Zihua to Appease Jiangnan". Others, such as "The Song of the Ming Concubine and Composed by Wang Jiefu" and "The Song of the Ming Concubine Again", express the poet's sympathy for the fate of women and his condemnation of the fatuous rulers who have ruined the country. But what he wrote more and more successfully were poems that expressed personal feelings and landscapes. His poetry was mainly influenced by Han Yu in art. Works such as "Lingxi Big Stone", "Shizhuan", "Purple Stone Screen Song" and other works imitate Han Yu's unique poetic style of imagination. But most of the works mainly learn from Han Yu's "writing as poetry", that is, the characteristics of argumentation and prose culture. Although he used natural and smooth poetic language to avoid the dangers and difficulties of Han Yu, there are still some poems with too much reasoning and lack of vivid images. Some of Ouyang Xiu's poems are written in a melancholy and vivid way, integrating narrative, discussion, and lyricism. Their style is close to that of Du Fu, such as "Rereading the Collection of Cu Lai" and "Sending Du Qi Gong to the Official Service"; another part of his works is majestic and changeable, with a style close to Du Fu's. The momentum is bold and bold, but it is close to Li Bai's, such as "Liu Zhongyun returned to Nankang in the same year as the gift from Lushan Gao". More lyrical works depicting scenes are either fresh and beautiful, or plain and interesting, such as "Thousands of trees are green, the Three Gorges are dark, the moon is full of rivers, and a monkey is sad" in "Night Mooring in the Yellow River", and "A Song of Thanks to Fa Cao at the West Lake in Spring" "The snow disappears outside the door and the mountains are green, and the flowers bloom by the river and it is sunny in February" and so on. Overall, his poetry styles are diverse. Ouyang Xiu is also good at discussing poetry. In the "Preface to the Collection of Poems by Mei Shengyu", he put forward the argument that "poor people should work first" in poetry, developed the poetry theories of Du Fu and Bai Juyi, and had a great influence on the poetry creation at that time and in later generations. His "June 1 Poetry Talk" is the first poetry talk in the history of Chinese literature. It comments on poetry in a casual and friendly way, becoming a new form of poetry discussion. Ouyang Xiu is also good at writing lyrics. The main contents of his poems are still love and lovesickness, drunken songs, cherishing spring, flower appreciation, etc. He is good at describing scenery with fresh and light brushwork. Thirteen poems "Picking Mulberries" depict the natural beauty of Yingzhou West Lake, and they are written in a quiet and calm way. Clear and full of emotion, like elegant landscape paintings. Other poems include "Where the apricot blossoms are red, the green hills are missing, and pedestrians rest on the mountainside." "Spring in the Jade House", "Visitors on the embankment chase painted boats, and take pictures of the spring water hanging from the embankment. The green poplar tower goes out to swing" ([Huanxi Sha]), etc., They are also good sentences for describing scenes. The poems that focus on lyricism are written in a melodious and lingering way, with deep feelings and close words. For example, the last two sentences of the upper and lower lines in "Tasha Xing" "The sorrow of separation gradually becomes infinite, and the distance is like spring water." "Beyond the Spring Mountains" expresses the feelings very deeply through the spring water and spring mountains. He also has some words that, although dejected and grumbling, speak directly from his heart and show his magnanimous and optimistic side. There are also some erotic poems, although they are about men and women dating, they are also simple and vivid; of course, there are also shallow and vulgar works among them. Ouyang Xiu's achievements in Confucian classics, history, epigraphy and other fields. Ouyang Xiu has made achievements in Confucian classics, history, epigraphy and other fields. In terms of Confucian classics, he studied "Poetry", "Yi" and "Spring and Autumn", and was able to put forward his own original ideas without adhering to the teachings of his predecessors. His historical attainments are deeper than those of Confucian classics. In addition to participating in the compilation of 250 volumes of "New Book of Tang", he also wrote "New History of the Five Dynasties", which summarizes the historical experience of the Five Dynasties and intends to draw lessons from it. He diligently collected and sorted out epigraphic artifacts, inscriptions and inscriptions from the Zhou Dynasty to the Sui and Tang Dynasties, and compiled them into a special collection of archaeological materials - "Collection of Ancient Records".