晚唐文學家羅隱，能詩能文，其《讒書》五卷，尤其受到後人的注目。《讒書》原為行卷工具，結果卻超越求仕功能，成為批判政治社會的作品。這五十八篇小品仍延續儒家「委婉譎諫」的傳統，仍有「借史垂訓」的意圖。羅隱遙承白居易「為君、為民、為時而作，不為文而作」的寫實精神，以《讒書》回應晚唐政治與社會種種亂象，代表「青年羅隱」對晚唐政治情態與社會現實的「嚴正關懷」。書中使用高明的寫作技巧，提升諷刺力道；包括近二十種文體，堪稱古典文體的集中操練與展示。其寓言作品，數量雖不多，卻創意十足。凡此，都使《讒書》一書，成為唐代諷刺文學不可多得的傑作。

The litterateur, Luo-Yin (833-909), in the late Tang Dynasty, was gifted in both literature and poetry, especially his Chan Shu including 5 volumes attracted people of the coming generations. At the beginning, Chan Shu was only an instrument to send someone’s writings to prominent officials and eminent personages, finally it transcended its function of seeking-government-position and became a work to criticize the political and the society. These 58 essays were still keeping on Confucian school’s tradition “ingratiating admonishment” and were with intention of transmitting lessons with history. Luo Yin succeeded far away to Bai Chu-Yi’s realistic spirit that witting was for monarch, people, and the Age rather than literature, and utilized Chan Shu for reflecting political and social confusion in the late Tang Dynasty which represented that young Luo Yin concerned seriously the political situation and social reality in the late tang Dynasty. The book was written by a clearer ingenuity to raise the strength of satire; meanwhile it included near 20 styles of writings that could be an exercise and display of classical style of writing. Although it was a small number of works of fable, its originality was great. Accordingly, Chan Shu was a rare work of satire in Tang Dynasty.