The poem "Ci of He Yong Palace" is an anecdote about Gong Wei, but it actually reflects the fate of Chongzhen Dynasty under the attack of peasant army. Although the last song satirized Fu's extravagance and debauchery, it was subtle and low-key. The poet's works are more an exaggeration of the warmth of Wanli's father and son and a sigh of the bleak ending of the axe king. Through the process of the death of the axe king from extreme reverence to sadness, it reflects the ups and downs of the late Ming Dynasty. The latter song chose Tian Guifei as the leading role for the same reason. Tian Guifei's life has always been the same as that of the Chongzhen Dynasty. Her ten years from pampering, leaning on power and arrogance to wasting away and ending in misery coincided with the whole process of the Chongzhen Dynasty from its early attempts to clarify politics to its later "making a great disaster and skillfully cultivating fakes", improper measures and rapid decline, which became a wonderful symbol of an era. The poem "From Prosperity to Loneliness" is full of infinite desolation and depression from beginning to end.

Compared with "Song of Caotang in Gaodong" and "Dian Shang Hang", the themes of these two poems are obviously more important, and their feelings are correspondingly more profound and painful, such as elegy and three sighs, which are touching. As for the art of writing, it is far from the first two, and its changes are shown in the following aspects. First, antithesis is used more. Yonghe Palace Ci has 108 sentences, and 60 sentences use antithetical sentences, all of which are above 50%. And it is more ingenious and exquisite. Among them, "Yuhuan's funeral is free from me, and the copper finches don't have to complain about ups and downs" all show the poet's ingenuity. The same is true of He Yong Palace Ci, which describes Tian Guifei's life. From the time she entered the palace, she described it until her death, as if she was at the end of her tether. Suddenly she wrote: "The White House is dark and frowning. I know it is not a blessing to show my morning dew." Gongcao will go to blood shed next year, so don't go to Xiling in tears at that time. "Flat land will open up a new realm and give people the feeling of' another village'. This shows that the narrative art of the poet is complete. In addition to the above three points, these two poems are more colorful and the allusions are more appropriate. In a word, it has all the typical characteristics of "Meicun style".

As soon as these two poems came out, they quickly spread among literati and received extensive attention and appreciation. Chen Zilong once recited a trip to Luoyang in front of Wu Meicun with passion, calling it "cooperation" and calling it absolutely similar to Li Jie in the Tang Dynasty. Wen Li even applauded: "This poem is a trip to Luoyang. The evaluation of Yonghe Palace Ci is higher. Zhu Kun, a contemporary, said: "There were many court poems in the Tang Dynasty, but Lianchang, Changhen, Jinyangmen and Du Qiuniang were the most famous. Six hundred years later, I saw this poem. Wei Xian thinks this poem is a "history of poetry". These two long ballads, written before and after the demise of Chongzhen Dynasty, shine brilliantly, winning Wu Meicun a great reputation and becoming immortal masterpieces that established its position in the poetry circle. His unique style, which is gorgeous and moving, and arouses the desolation of Chu people, was accepted by people, and the "Meicun style" was established.

Starting from the second year of Shunzhi in Qing Dynasty, Wu Meicun's creation of seven-character songs entered the third stage, especially in the eighth and ninth years of Shunzhi, when the creation of seven-character songs reached its peak. A number of famous works, such as Listening to the Jade Garden, Yuan Yuan Qu, Xiao Shi Qing Men Qu and Yuan Hu Qu, all came from these two years. Almost every article was published, which caused a sensation and quickly spread among scholars.

Compared with He Yong Palace Ci, the song creation in this period not only followed the characteristics different from those in the past, but also developed and changed, making the connotation of "Meicun Style" richer and more vivid. This development and change is mainly manifested in the following three aspects. Although the songs of this period are still expressing the sense of rise and fall, they have integrated an element that Yonghe Palace Ci does not have: national feelings. Themes and feelings become more complicated. Although He Yong Gong Ci was written after the collapse of Chongzhen Dynasty, Hong Guang Dynasty in Nanming still exists, no matter how dangerous it is, on the surface, it still retains half of the country. The works such as Listening to the Female Taoist Priest's Edge in Yujing and Garden Songs were produced in the new dynasty when foreigners practiced high-handed rule.

Qing soldiers used butcher knives to open the way, captured Jiangnan, forced Han people to shave their hair and braid their hair, and created a series of massacres. These obviously had a more violent and turbulent impact on the poet's mind, and the poet naturally felt more real and concrete about the situation of national subjugation. These factors will inevitably be internalized into the tone and emotional melody of the content of the work, making the meaning of the work more depressed and sad. Yonghe Palace Ci has no critical color, and some works after Yonghe Palace Ci, such as Pipa Xing and Houdonggao Caotang Song, etc. , but also the lack of critical significance.

At that time, Wu Meicun was still immersed in the deep pain of the decline of the Ming Dynasty, and could not let it go for a while. In his works, there is more pain than thinking, and more sorrow and yearning for the first dynasty than analysis of the reasons for its decline. However, by the time he wrote "Listening to a Female Taoist Priest Playing the Piano at the Edge of Yujing" and "Qinyuan Qu", he had experienced great changes for many years, and he began to reflect calmly on how the tragedy of the Li Dynasty happened and why the huge Ming Empire suddenly fell apart.

In his view, apart from the "bandit" peasant army, there are also rebels who lead the wolf into the room and embarrass the enemy, and rulers who are decadent and give up on themselves. Wu Sangui, Hong Chengchou, Liu Zeqing and Hong Guang all belong to this kind of scum. Therefore, in the works of this period, he either cynically or bluntly criticized, which showed a critical meaning. For example, "Garden Song" says, "Appreciate the beauty of the countryside and the beauty of the city, and make Zhou Lang famous all over the world." . The wife should be a big deal, but the hero is helpless and affectionate. The whole family's bones turn to ashes, and a generation of red makeup shines in history "is an unprecedented poem, which makes the songs of this period more thoughtful, deeper and older than before." "The narrative of Yonghe Palace Ci adopts a single-line development structure synchronized with time series. Although it also tries to avoid flat development, it has not fundamentally changed compared with historical narrative works. However, many chapters in this period have broken the old model, fully absorbed the narrative techniques of the increasingly prosperous legendary dramas and novels since the Ming Dynasty, and adopted various techniques such as chronological narration, flashback, insertion, separate writing, co-writing, foil and echo to create a brand-new narrative structure. For example, the key link in the middle of the story was grasped at the beginning of Yuanqu, and the theme of the poem was directly revealed from the beginning when Wu Sangui lured the Qing soldiers to "break the enemy's enemy and take Beijing". Then, I turned my pen and wrote back the first meeting between Wu and Chen, which led to Chen Yuanyuan. After that, further flashback, into the description of Yuan Yuan's life experience.

Write about the reunion of Wu and Chen in the battlefield. After the main part of the story is finished, suddenly there are two episodes, which are about the feelings of prostitutes, teachers and female companions and Chen Yuanyuan's own sorrow. The structure of the whole narrative part is so open and abrupt that it is simply dizzying, but it is reasonable and round. Another example is Xiao Shi Qing Men Qu, which describes the fate of several Ming princesses, just like a series in history books. It first describes the wedding scene of Princess Le 'an, a Guangzong girl in the early years of Chongzhen, and then leads to the wedding of Princess Le 'an's sister Princess Ningde in flashback, and then naturally writes about their extravagant life. Then, she brought out Princess Rongchang, the daughter of a higher god. Next, I will talk about the superiority of the Chongzhen dynasty to the princesses' courtesy: "The six palaces all pay attention to family gifts, and the four festivals are diligent and add Qi Lian. Xie Feilong Hall, take the oil wall Yuehuamen. " This is a combination of all princesses, which is extremely lively and prosperous. At this point, the author suddenly had a meal, and described the decline of princesses with the phrase "Everything is prosperous, and China has a surplus".

First Princess Le 'an died, then the Ming Dynasty perished, leaving Princess Ningde alive. Then, through the memory of Princess Ningde, I flash back to the experience of Princess Changping, the daughter of Emperor Chongzhen, on the eve of the Ming Dynasty's death and her fate after the Ming Dynasty's death. Finally, write the dream of Princess Ningde, the prosperity of the past, and the desolation after waking up. The poem takes Princess Ningde as the main line and connects the lives of four princesses in series. The structure is changeable and not chaotic at all. This complex and novel narrative structure has never been used by anyone, let alone Wu Meicun's seven-character quatrains before. It is a narrative work of any period in history.