Li Shang-yin

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Li Shang-yin

Li Shang-yin (lēˈ shăngˌ-yĭnˈ), 813?–858, Chinese poet. Of his 598 extant works, the best known are untitled love poems that describe in rich, sensuous detail scenes of beautiful courtesans languishing in ornate boudoirs. Li also wrote more conventional poems—verses to friends and family, political satires, depictions of particular objects—and parallel prose essays.


See study by J. J. Y. Liu (1969).

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Li Shang-Yin


(also Li I-shan). Born 813; died 858. Chinese poet.

Li Shang-yin left a heritage of many poems, which are superb in form but often difficult to understand, as was noted even by his contemporaries. Much of his work consists of love and nature lyrics, epistles to friends, and exposés of officials who oppressed the common people. An interest in man and human emotional experiences and descriptions of everyday life, which are characteristic of Li Shang-yin’s poetry, found an even more vivid expression in his prose Sayings, which were highly valued by Lu Hsün.


In Russian translation:
In Antologiia kitaiskoi poezii, vol. 2. Moscow, 1957.
Tszatszuan’: Izrecheniia kitaiskikh pisatelei IX-XIX vv. Moscow, 1969.


Fishman, O. “Iz izrechenii Li Shan-inia.” Sovetskoe vostokovedenie, 1956, no. 4.
Chung-kuo wen-hsüeh shih, vol. 2. Peking, 1959. Pages 254–64.
Lin, J. J. Y. The Poetry of Li Shang-yin. Chicago-London, 1959.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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References in periodicals archive ?
Li Shangyin [phrase omitted] (812-858) once rejected this tendency in a letter declining a patron's offer of a concubine, explaining that he was far less romantic than his poems might lead readers to believe.
(20.) Li Shangyin, "Shang Hedong gong qi" [phrase omitted], in Li Shangyin wen biannian jiaozhu [phrase omitted] [phrase omitted], ed.
1955) and the translated poetics of ethnography; Indic echoes: form, content, and contested Chineseness in regulated verse; canons of nativization in the poetry of Du Fu (712-770); and borders and communication in the translation of Li Shangyin (513-858).
He istranslating Tang dynasty poet Li Shangyin and seminal contemporary poetMang Ke.
The uniqueness of this volume lies in the extensive use of Tang writers as eyewitnesses, including major poets such as Du Fu and Li Shangyin, along with at least twenty other poets, to comment on social and economic changes in the public and private spheres.
In his poem "Seeing Cui Jue Off to Sichuan" ("Song Cui Jiu wang Xichuan" [TEXT NOT REPRODUCIBLE IN ASCII]), for example, the renowned late Tang poet Li Shangyin [TEXT NOT REPRODUCIBLE IN ASCII] (ca.
(36.) The quality is described in the Nanyue zhi [TEXT NOT REPRODUCIBLE IN ASCII], quoted in the commentary to Li Shangyin's [TEXT NOT REPRODUCIBLE IN ASCII] "Green Jade City" [TEXT NOT REPRODUCIBLE IN ASCII], A line of this poem reads "A rhinoceros [horn] banishes the dust., jade banishes the cold" [TEXT NOT REPRODUCIBLE IN ASCII] The commentator Daoyuan [TEXT NOT REPRODUCIBLE IN ASCII] cites a number of sources for this expression.
One striking feature of Li Shangyin's [TEXT NOT REPRODUCIBLE IN ASCII] (ca.
This is further complicated by Williams's appeal to a notion of literature that transcends time and cultures, enabling him to compare Wu's work with that of writers as diverse as Jane Austen, Sophocles, George Eliot, Nabokov, Turgenev, and Li Shangyin and to draw on ideas developed by Peter Brooks, Roland Barthes, Henry James, Suzanne Langer, and Tzvetan Todorov.
676) eulogy and poems presented to emperor Gaozong and a poem by Li Shangyin [TEXT NOT REPRODUCIBLE IN ASCII] (ca.
LI ZENG (University of Louisville), "Hermetic and Enigmatic: 'Problematics' of Ambiguity in Li Shangyin's Poetry"
The chapters that make up the bulk of the book intend to demonstrate the following: first, the existence of a single, consistent "canonical concept of poetry" in the medieval period that advocated only poetry attentive to "social and moral obligations" (the thesis of chapter two); and second, a deliberate effort on the part of his four poets to write against this narrow view of poetry (chapters three through five, on Xiao Gang, Li He, Wen Tingyun, and Li Shangyin).