「風人詩」又名吳歌格、吳格，本於風俗之言，取譬淺俚，類於謠俗。濫觴於《國風》，萌芽於先秦典籍、樂府曲辭；《吳歌》、《西曲》等「戀愛術語」，則直接催化「吳歌格」之蓬勃滋長，更孕育了「風人詩」之大量湧現。這種「彎曲的語言」，前句比興引喻，後句實言以證，或借物寓意，或取之同音，或歇後諧音雙關兩意。詩人微旨所寄，曲折婉轉，迷離閃爍，極盡文字之巧妙，增添文學之趣味。論其價值及影響，沾溉既深且廣，嗣響不絕，尤其是《山歌》、《粵風》等民間歌謠，「諧音雙關」大放異彩，出神入化，令人目不暇接，愛不釋手。時至今日，更是推陳出新，且已融入生活，成為民俗文化的一部份。 Feng Jen Style, a.k.a. Wu Ke Ko and Wu Ko, is derived from folk sayings. It consists in simple but vulgar slangs and is similar to folk rhymes. Originating from Kuo Feng and burgeoning in the classics of pre-Chin Dynasty as well as in the poetry of Yueh Fu, the "romance jargon" from Wu Ke and Hsi Chu, nevertheless, gives birth to a prosperity of "Wu Ke Ko" and prompts a soaring surge of "Feng Jen Style." Adopting metaphors preceding the proving fact, authors either bury the meaning behind an occasion or use puns on the sound to bring out the possible applications of the words in a humorous way. Winding and ambiguous, the connotations of the works are, in fact, a great play on words and a plus of fun to literature. The value and impact of the literary style has been so great and profound that it is undoubtedly passed down from generation to generation. Among the folk songs of the literary style, the puns on the sound from Shan Ke and Yueh Feng in particular are the most subtle and brilliant. The use of the puns is so clever that readers find it hard to take their eyes off the works. As the literary style evolves, new changes have been introduced and blended into our lives while it has emerged to be part of our folk culture.