Yao Wenxie (1628-1692), in his Anthology of Changgu’s Poems, proposed two ways of analyze the poems of Li He (790-816). One way is to read Li’s poems as “shishi” (poetic history), and the other is to propose that to explain Li’s poems one must impersonate Li, be him, body and mind. Yao regards Li as a historic poet, whose poems contains hidden message like loyalty, love, and irony. That viewpoint dominates his annotations of Li’s poems, with abundant historical references in his notes. In Anthology of Changgu’s Poems, Li is constructed with Yao’s extremely stereotypical imagination due to his theory of physical and intellectual impersonation. Yao’s method of annotation and viewpoint to Li produces so-called “synoptic annotation” in this paper. This kind of annotative language generally regards Li’s poems as works alluding to realistic or parodic background events. In spite of the obvious absurdity in the approach, this paper intends not to criticize the validity of Yao’s criticism but to, from the perspective of Emotion-Intentional Criticism, investigate Yao’s understanding of Li’s emotion-intention (qingzhi) and how he manipulated and applied his viewpoint as an author.