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'''Li Shangyin''' a Chinese poet of the late Tang dynasty, admired as one of the most original and difficult poets of the tradition and famous for his dense, allusive and hauntingly beautiful verse. His love poems and his poems of melancholy and political disappointment have made him one of the most studied and beloved figures of late Tang literature.

== Life and Career ==
Li Shangyin was born in about 813, in the late Tang, a time when the dynasty had recovered from the An Lushan rebellion but was weakened by factional strife and the decline of central authority. He came of a family of officials of modest standing and received a good classical education, showing precocious literary talent from his youth.

His career was dogged by the bitter factional conflicts of the age. He became associated with the circle of the statesman Linghu Chu, who favoured him, but through marriage he was linked to a rival faction, and he was caught between the two camps for the whole of his life. This divided loyalty thwarted his ambition and left him in a series of minor posts.

He held a variety of provincial and local offices, in the service of military governors and in the provinces, and he was often separated from his family and unsettled. His career never fulfilled his early promise, and the frustration of his public ambitions became one of the great themes of his poetry of disappointment and regret.

== The Poetry of Love and Separation ==
Li Shangyin is best known for his poems of love and parting, which are among the most exquisite and the most enigmatic in the Chinese language. He wrote of secret meetings, stolen glances, longing and loss, and of the pain of separation, with an intensity and a delicacy that have never been surpassed. His lovers are often unnamed and their stories veiled.

His most famous poems in this vein are the untitled verses, the Wuti, which conceal their subjects and invite endless interpretation. They are rich in allusion to myth and history, in images of moons, candles, spring rain and the silkworm that spins until it dies, and in a profound melancholy. Readers have argued for centuries about whom and what they celebrate.

The imagery of these poems is both sensuous and symbolic, and their syntax weaves in and out of meaning, so that a line may be read in several ways at once. This deliberate ambiguity gives the verse a haunting quality, like a memory half understood, and it is the source of the fascination the poems still exert over readers.

== Image, Allusion and Technique ==
Li Shangyin's poetry is famed for its dense allusiveness. He drew constantly on classical history, on myth and legend, on the poems of his predecessors and on the lore of the Daoist and Buddhist traditions, and he expected his readers to recognise the references. A single line may compress several stories and images into a few words.

His technical mastery was extraordinary. He was a supreme craftsman of the regulated verse, handling its strict parallelisms and tonal patterns with a freedom that seems effortless, and his use of imagery and symbol anticipated the more reflective and decorative modes of later Chinese poetry. Later poets admired him as a master of the difficult art.

His verse also carries a strong note of personal and political sorrow. Many of his poems mourn the decline of the Tang and the loss of the great age of his forebears, and they express a sense of living in a diminished and disordered time. The melancholy of his work is both erotic and historical, private and public at once.

== Political and Occasional Poems ==
Li Shangyin was not only a poet of love. He wrote many poems on political subjects, lamenting the misfortunes of the dynasty, the corruption of officials and the suffering caused by misgovernment. He criticised the eunuchs and the factional struggles that weakened the court, and he mourned the death of emperors and the loss of great ministers.

He also wrote a large body of occasional verse, poems exchanged with friends and patrons, poems on the seasons and on travel, and poems of moral reflection. These pieces reveal the range of his interests and his deep engagement with the public life of his time, and they show that his melancholy was rooted in the misfortunes of his country as well as in his own.

Some of his most admired works are elegiac, written in memory of friends, rulers or historical figures. He had a gift for mourning, and his commemorative poems combine personal grief with a wider sense of the transience of all things, achieving a dignity and a depth that rank them among the finest of the Tang.

== Influence and Legacy ==
Li Shangyin's reputation has grown steadily through the centuries. He was admired by the poets of the Song dynasty and by later scholars, and his untitled poems in particular became a treasure of Chinese literature, studied and imitated for their beauty and their obscurity. The phrases and images he coined passed into the common stock of the language.

His influence is evident in the work of many later poets, and his manner, at once ornate and profound, helped to shape the poetic taste of the late imperial age. His poems, with their echoes of myth and their unresolved longing, made him a natural precursor of the refined and allusive verse that later ages prized.

He remains one of the most popular and most discussed of Chinese poets, and his enigmatic love poems in particular continue to attract readers and scholars. The difficulty of his work, far from repelling admirers, has been one of its charms, and the search for the meaning of the untitled poems has itself become a small tradition of Chinese letters.

== See also ==
* Du Mu
* Tang poetry
* Regulated verse
* Late Tang poetry

== References ==

<ref name="r1">James J. Y. Liu, The Poetry of Li Shang-yin: Ninth-Century Baroque Chinese Poet, University of Chicago Press, 1969.</ref>
<ref name="r2">Stephen Owen, The Late Tang: Chinese Poetry of the Mid-Ninth Century, Harvard University Press, 2006.</ref>
<ref name="r3">David R. Knechtges, Wen Xuan, or Selections of Refined Literature, Princeton University Press, 1982.</ref>
<ref name="r4">Anne Birrell, New Songs from a Jade Terrace, Penguin Books, 1982.</ref>

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[[Category:Literature]]
[[Category:Poetry]]
[[Category:Tang dynasty]]