With the emergence of and competition between engravings and written copies in the printing business, the popularity of bibliographical information and the dissemination of knowledge had advanced and diversified greatly in the Song Dynasty. Moreover, it not only influenced the way people read, learned, wrote, and criticized, but also reshaped aesthetic tastes and the academic milieu. As a branch of discursive meta-poetry, poetic meta-poetry exemplified such an influence. The first thirty volumes of The Oeuvre of Song Poetry, comprising ninety two different subjects and one hundred thirty one poetry-oriented meta-poems in forty schools, epitomized the reading acceptance, aesthetic taste, and poetic canon of the Song Dynasty, and how Song people turned the wisdom of antiquity into their own. Regarding reading tendencies, Bai Juyi 白居易, Han Yu 韓愈, and late Tang Dynasty poets were popular among the Northern Song poets. Consequently, the poetic style of the Song is actually derived from the emulation of Tang poetry. Although there was a profusion of poets reading Li Bai’s 李白 work, they were mostly reading with the intention of comparing Li’s poems with those of Du Fu 杜甫. Tao Yuanming 陶淵明 and Du Fu were renowned for their dignity and poetic beauty, which appealed to the expectations of Song people. Hence they were revered in the classic canon of Song poetry. So it is not a surprise that the engraving poetry collections of both Tao and Du flooded into the market at the end of the Song Dynasty. While examining Northern Song poetry-oriented meta-poetry, one can notice that the reading tendencies and aesthetic acceptance of poets is of great value for those wishing to study the theory of Song poetry.