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There are currently two misunderstandings in the academic research on Weng Fanggang's poetics: one is to interpret "texture" as "righteousness" and "literary theory", and the other is to equate "texture" with the entire Weng Fanggang's poetics. This book uses Volume 10 of "Shizhou Poetry", a manuscript collected by the Shanghai Library, to analyze in detail the connotation of the "texture" theory and its lack of theoretical construction. It also examines how Weng Fanggang emerged from the "spirit" and his contribution to defining the aesthetic characteristics of Song poetry. Among them, concepts such as "frontal writing", "situation" and "incorporating learning into poetry" are mainly discussed. Finally, Weng Fanggang's creative practice of "using textual research into poetry" and his influence on Feng Minchang, Liang Zhangju, Ruan Yuan, Pan Zuyin and others were examined, and he was characterized as "the perfect mediator of traditional poetics" from the perspective of the history of poetics.

Xiao Han originally thought that he was a fan of Fang Shuyang, but he accidentally fell in love with her. It turned into a story about secretly falling in love with a little idol. Although they are secretive, although they are like chickens on the ground, they will grow up and rely on each other. It's the kind of love where you promise me a lifetime and I'll grow up with you.