Li Shangyin (about 8 12 or 8 13- about 858), whose real name is Yuxi Sheng and Fan Nansheng. Poets in late Tang Dynasty. Originally from Hanoi, Huaizhou (now Qinyang, Henan), his ancestors moved to Xingyang (now Henan). His poems are of great literary value. Wen, which is called Xiao with Du Mu, is called Wen Li, which is similar to Duan and Wen in the same period, and both of them are ranked as 16 in the family, so they are also called "Thirty-six Style". There are 300 Tang poems, including 22 poems by Li Shangyin, ranking fourth.

all one's life

Li Shangyin was a scholar in Tang Wenzong in the second year (AD 847). He was a judge of Hongnongwei, Sasuke shogunate and Dongchuan Festival. In the early days, Li Shangyin won the appreciation of Ling Huchu, an important member of the Cattle Party, because of his literary talent, and Li Party married his daughter because he loved him, so he was rejected by the Cattle Party. Since then, Li Shangyin struggled for survival in the struggle between Niu and Li factions, worked as an aide in various provinces, and was frustrated and down and out for life. In the light of predecessors, the poetry circle in the late Tang Dynasty has reached the end of its tether, and Li Shangyin pushed it to another peak. He is the most famous poet in the late Tang Dynasty, along with Du Mu.

The social status of the family

Li Shangyin once claimed to be the same clan as the royal family in the Tang Dynasty. Zhang Caitian's textual research confirmed that he was a distant imperial clan in the Tang Dynasty. But there is no official document to prove this, so it can be considered that this blood relationship between Li Shangyin and the royal family in the Tang Dynasty is quite distant. Li Shangyin affirmed his imperial clan status many times in his poems. However, this did not bring him any real benefits.

Li Shangyin's family can be traced back to his great-grandfather Li She. The highest administrative post that Li She once held was Meiyuan County Order; Great-great-grandfather Li Shuheng (uncle) is an Anyang county commandant. Grandfather Li Biao, a former Xingzhou document, joined the army; His father, Reese, was once an imperial adviser in the temple. When Li Shangyin was born, Li Siren was ordered by jia county (now jia county, Henan).

one's early years

Around 10, Li Shangyin's father died in the shogunate of Zhejiang, and he returned to his hometown in Henan with his mother and younger siblings, living in poverty and relying on relatives for help. At home, Li Shangyin is the eldest son, so he also bears the responsibility of supporting the portal. Later, he mentioned in his article that he was a "bookseller" when he was young, that is, copying books for others to earn money to supplement his family.

Li Shangyin's poor life in his early years had a great influence on the formation of his character and thoughts. On the one hand, he is eager to be an official as soon as possible to honor his ancestors. As a matter of fact, he did try to shoulder the responsibilities of the family. As an adult, Li Shangyin used the time of his mother's death to move the coffins of relatives buried in various places to Xingyang. Chen Yiyun believes that this is not only dominated by the patriarchal ideology, but also because he was lonely and poor since childhood, so he paid more attention to the love of flesh and blood. On the other hand, his early experience made him develop a hesitant, sensitive and lofty character, which was not only reflected in his poems, but also reflected in his tortuous career.

Li Shangyin's enlightenment education probably came from his father, and the teacher who had the greatest influence on him was his uncle who was the same clan after he returned to his hometown. The uncle went to imperial academy, but he never became an official and lived in seclusion. According to Li Shangyin's memory, this uncle was very accomplished in Confucian classics, primary school, ancient prose and calligraphy, and was highly valued by Li Shangyin. Influenced by him, Li Shangyin "can write ancient prose, but he doesn't like accidentally". At about the age of 16, he wrote two excellent articles (the theory of genius and the theory of holiness, which no longer exist), and won the appreciation of some scholars. Among these scholars, Tian Pingjun was the envoy of Linghu Chu.

Linghu Chu is another important figure in Li Shangyin's study career. He is an expert in parallel prose and appreciates Li Shangyin's talent very much. Not only taught him the writing skills of parallel prose, but also subsidized his family life and encouraged him to make friends with his children. With the help of Ling Huchu, Li Shangyin's parallel prose writing has made rapid progress, from which he gained great confidence, hoping to develop his career with this ability. During this period (the fourth year of Taihe in 830), Li Shangyin's gratitude and self-satisfaction to Ling Huchu were beyond words: "There was never the slightest neglect, and I gave a pen and inkstone for nothing. Since I deliver books in the middle of the night, I don't envy Wang Xiang for having a sword. "

official career

In the Tang Dynasty, intellectuals who lacked family background all wanted to develop in their official career. There are two main entrances: imperial examination and shogunate. The former is considered as the qualification to enter the officialdom and the official recognition of its administrative ability; The latter is a political team cultivated by some powerful bureaucrats themselves. If they perform well, they can often become official officials of the court through the recommendation of these bureaucrats. In the middle and late Tang Dynasty, many officials were qualified for the imperial examination and had experience as aides.

Li Shangyin was appreciated by Linghu Chu when he was young. He had the opportunity to learn Liu Siwen from him and naturally became Linghu Chu's assistant. However, it is precisely because of this experience that he has been entangled in the political whirlpool of the party struggle between Niu and Li all his life.

The dispute between Niu and Li originated from the imperial examination in the third year of Yuanhe (808). Li Jifu, then prime minister, attacked candidates Niu Senru and Li Zongmin because they severely criticized him in the examination paper. As a result, Li Jifu made enemies with Niu Sengru, Li Zongmin and others, and was later inherited by Li Deyu, the son of Ji Li Fu. The "Niu Party" led by Niu Senru and Li Zongmin and the "Li Party" led by Li Deyu attacked each other and fought endlessly for decades, which became a major political contradiction in the late Tang Dynasty.

Li Shangyin's former governor, Ling Huchu, belonged to the "Cattle Party". With his help, Li Shangyin entered the political arena. In the second year of Tang Wenzong (837), Linghu Mao, the son of Linghu Chu, helped Li Shangyin win the Jinshi. After Linghu Chu died, Li Shangyin became the adjutant of Wang Maoyuan, the envoy of Jingyuan, and was appreciated by him. He married his daughter. Wang Maoyuan made friends with Li Deyu and was regarded as a member of the Li Party. This marriage made him regarded as the middleman of Li Party by Niu Party. However, Li Shangyin himself may want to stay out of the party struggle between Niu and Li. His contacts include Niu and Li, and both of them are affirmed and criticized in his poems. However, it is obviously wishful thinking to remain neutral in political struggle. As a result, Li Shangyin didn't please both sides, which made the fox particularly hate him and thought he was ungrateful. Li Shangyin tried many times to remedy Hu Ling's high position, including writing some poems to Hu Ling (such as A Word to Secretary Hu Ling), hoping that he would look back, but Hu Ling always ignored him.

In this case, Li Shangyin's official career is obviously not smooth. He served in Tang Wenzong for four years (839) and Tang Wuzong Huichang for five years (845), but he was only a junior official for a short time. Li Shangyin also worked as a junior official in the grass-roots government (four to five years: Hongnong County Commandant; Two years-three years: lost), but also short and bumpy. He spent most of his life working under the protection of some foreign officials. In fact, whether the "Niu Party" or the "Li Party" is in power, Li Shangyin has never had a chance of promotion. His political career ended in the 12th year of Emperor Xuanzong of the Tang Dynasty (856). At that time, he followed the transportation of salt and iron, making Liu Zhongying an official of salt and iron. When Liu was transferred to the Ministry of War, he immediately lost his job. He died soon after he returned to his hometown.

Widowed in his later years and frustrated in officialdom, he believed in Buddhism.

Social contact

According to the style of some of Li Shangyin's poems, it is inferred that he is introverted (Yuan XIngpei, editor-in-chief: Chapter IV Xi of China Literature History). This guess is somewhat arbitrary. If we look at Li Shangyin's other lively and humorous works, we can draw a completely opposite conclusion. Existing materials (mainly his own poems and articles) show that Li Shangyin has a wide range of social activities, and he is a sociable and popular person.

The characters in Li Shangyin's social circle are divided into four categories:

People related to career and people's livelihood. Including Ling Huchu, Hu Ling Mao, Cui Rong, Wang Maoyuan, Li Zhifang, Lu Hongzhi, Zheng Ya, Liu Zhongying, Li Hui, Du Yan, Xiao Huan, Yang Yuqing, Yang Sifu, Zhou Yong, Yao He, Sun Jian and others. Give to each other and make friends with poets. Including Du Mu, Wen, Bai Juyi and others.

Friends with similar political views or beliefs. Including Liu Geng, Taoist Yong, Cui Jue, Li Ying and others.

A courtesy connection between friends or relatives. Including all stages of Ling and his colleagues.

Contact with ling huchu

After his father died, Li Shangyin accompanied his mother back to his hometown in Henan, which was a completely strange and quite difficult environment for him. Without the influence of family or clan, he naturally entered a social circle during his growth. Li Shangyin established his own social network by virtue of his talent, character and personality. As early as the age of sixteen, he began to associate with some local intellectuals, distributed his works to them for reading, and gained a certain reputation-perhaps this is why he attracted the attention of Ling Huchu.

Knowing Linghu Chu is one of the most important events in Li Shangyin's life, and his later life state is largely related to it. Linghu Chu helped Li Shangyin to enter the social class of scholar-officials, but at the same time, he was also involved in the whirlpool of party struggle. From 829 (the third year of Emperor Wenzong's reign) when Ling Huchu hired him as his aide to 837 (the second year of Emperor Wenzong's reign) when he died, they maintained a very close relationship. Li Shangyin won the trust of Ling Huchu with humility and sincerity. One thing can illustrate the degree of this trust: Linghu Chu called Li Shangyin to his side on his deathbed and asked him to write a suicide note on his behalf-this is not an ordinary suicide note, but a political suicide note to be presented to the emperor. Linghu Chu himself is a master of this style, and he would rather let Li Shangyin help him complete the summary of his life. On the other hand, there is a very subtle sense of distance between them. Li Shangyin called Linghu Chu "four zhangs" on some occasions, which seemed quite close, but he never relaxed and forgot to express his gratitude from time to time. Of course, rather than Li Shangyin keeping his distance carefully, Linghu Chu's attitude gave the two sides a boundary for communication.

In the process of associating with Ling Huchu, Li Shangyin learned how to get along with people who both have status and appreciate their talents. Such a person has multiple identities for him: Bole, teacher, elder, boss and patron ... In short, it will have a great impact on his personal career and life.

love

Li Shangyin's portrait "Li Shangyin's Love Life" has attracted the attention of many researchers, to a certain extent, because Li Shangyin's poems, represented by "Untitled", show a complex and delicate feeling, which is easily regarded as the expression of rich love experience.

There are many speculations about Li Shangyin's love than the actual evidence, but this does not prevent people from relishing it, and even trying to analyze his poems like reading detective novels, hoping to find tangible evidence. The following women are considered to have had emotional entanglements with Li Shangyin:

The name of willow branches appeared in a group of poems (five willow branches) written by Li Shangyin in the first year of Kaicheng (836). He also wrote a long preface for this group of poems, telling the story of Liu Zhi: she is the daughter of a rich merchant in Luoyang, lively and lovely, cheerful and generous. By chance, she heard Li Shangyin's poem (Poems of Yantai). She was fascinated and took the initiative to date him. But Li Shangyin stood me up. He later learned that Herry Liu was taken as a concubine by a powerful man. The two never met again. If Li Shangyin hadn't made it up, this fruitless relationship would probably be his first love.

Song Huayang. Li Shangyin studied Taoism in Yuyang Mountain as a teenager, so some people suspect that he had an affair with a female Taoist during this period. Li Shangyin mentioned the name of "Song Huayang" in his poems, such as Moonlit Song Huayang Sisters' Meeting, Presenting Huayang Song Zhenren and Sending Qing Jingshi Mr. Liu, so Song Huayang was regarded as Li Shangyin's lover. Another exaggeration is that Li Shangyin once fell in love with Song Huayang. Su imagined this story to the maximum extent in the Mystery of Yuxi's Poetry [5].

Jinse. Li Shangyin has a famous poem "Jinse". Liu Ban mentioned in "Zhong Shan Shi Hua" that some people speculated that "Jinse" was the servant of Linghu Chu family. Li Shangyin fell in love with Hu Ling when she was studying at home, but it didn't work out in the end.

Lotus. According to folklore, before he married the king, he had a lover nicknamed "Lotus", and they were very loving. One month before he went to Beijing to take the exam, Lotus suddenly became seriously ill, and Li Shangyin spent his last time with Lotus. This tragedy dealt a great blow to him. In his later poems, he often took lotus as the topic, which was also an attachment to old feelings.

Wang. Wang is Li Shangyin's wife. However, some people infer that Wang is Li Shangyin's remarried wife from Li Shangyin's Book of Sacrificing My Nephew and Little Nephew (Don't Want to Marry, Not Stand Up). If this view holds, Li Shangyin should still have his first wife, but the information about this is almost blank. Li Shangyin has a very good relationship with Wang. After Wang's death, he wrote mourning poems such as "Song" in his room, with sincere feelings and painful meanings. Among them, the most famous one is what he wrote on his official tour of Sichuan: "After my death, I went to Shu Dong and went to Sanguanxue": "I am far away from the army, homeless, and I am sending clothes. Sprinkle three feet of snow and dream back to the old machine. "

The most famous research on Li Shangyin's love life is Su's Love Story Research (1927). This book was reprinted on 1947, and changed its name to Yu Xi's Poem Mystery. Su's research has inherited the achievements of harmony and broadened and enriched the content of this field. For example, through her research, most people accepted Li Shangyin's love experience with a female Taoist. However, Su's speculation and reasoning were almost unrestrained, which led to several bizarre relationships, including his relationship with a maid-in-waiting.

poetic sentiment

Li Shangyin is generally regarded as the most outstanding poet in the late Tang Dynasty. His poetic style is deeply influenced by Li He, and his syntax, composition and structure are all influenced by Du Fu and Han Yu. [6] Many critics believe that among the outstanding poets in the Tang Dynasty, his importance is second only to Du Fu, Li Bai, Wang Wei and others. As far as the uniqueness of poetic style is concerned, he is not inferior to any poet. Those who appreciate Li Shangyin's poems and those who criticize him are all aimed at his distinctive personal style. Many poets in later generations imitated Li Shangyin's style, but none of them were recognized.

According to the arrangement and research of Liu and Yu Shucheng [7], there are 594 poems handed down by Li Shangyin, of which 38 1 basically determines the writing time, and 2 13 cannot be classified as a specific year. In addition, there are more than a dozen poems suspected to be Li Shangyin's, but the evidence is insufficient.

Judging from the theme of chanting, Li Shangyin's poems can be mainly divided into several categories:

Politics and reciting history. As an intellectual who cares about politics, Li Shangyin wrote a lot of poems in this field, and about 100 poems have been handed down. Among them, Bai Yun in the Western Suburb, Shi Dong Sui and Two Feelings are more important works. Li Shangyin's early political poems were mostly based on Chen's current situation, and their harsh tone of grief and indignation and sense of self-expectation reflected his mentality at that time. In poems about political and social contents, it is a feature of Li Shangyin's poems to borrow historical themes to reflect his views on contemporary society. Fu Hou, two poems of Northern Qi Dynasty, Mao Ling, etc. It is a representative.

Express one's feelings and recite things. Li Shangyin's career was bumpy all his life, and his ambition could not be realized, so he used poetry to dispel his depression and anxiety. Ding An Tie Tower, In Spring, Happy Garden and Du Gongbu in the Middle of Shu are the most popular songs. It is worth noting that many seven-character poems in this kind of works are considered as important successors of Du Fu's poetic style.

Emotional poetry. The works that chant inner feelings, including most untitled poems, are the most distinctive parts of Li Shangyin's poems, and they are also the most concerned parts of later generations. Jinse, Poems of Yantai Mountain, Three Poems by Bi Cheng, Return to the Temple of Our Lady, etc. , has always maintained a style similar to untitled poetry. Five Willow Branches, Sending Friends to the North on a Rainy Night, Mourning for the Past and Going East, Three Passes of Snow, etc. It embodies the artistic conception of another style of Li Shangyin's emotional poems.

Socializing and communicating. Among Li Shangyin's poems used for communication, several poems addressed to Hu Ling Mao (seeing off to fill a vacancy, sending a message to Secretary Ling Huchong, paying for a doctor, sending him to be a bachelor, dreaming of being a bachelor, and Hu Ling Scheeren saying that the drama on the moon last night was a gift) are particularly eye-catching, which provides an explanation for his relationship with Hu Ling Mao.

Poetic style

Li Shangyin's poems have a distinctive and unique artistic style, beautiful words and profound meanings. Some poems can be interpreted in many ways, while others are obscure. There are about 600 existing poems, especially untitled poems. Li Shangyin is good at writing seven laws and five-character laws, and there are also many excellent works in seven-character poems. Ye Xie, a poet in the Qing Dynasty, commented on Li Shangyin's Seven Musts in his original poem as "affectionate entrustment, tactfully worded, but unparalleled in a hundred generations."

His metrical poems inherit Du Fu's tradition in technique, and some of his works are similar to Du Fu's in style. Similar to Du Fu, Li Shangyin's The Book of Songs often uses allusions, which is more profound and difficult to understand than Du Fu's allusions, and every sentence often uses allusions. He is unique in the use of allusions, likes to use various symbols and metaphors, and sometimes he doesn't know what the purpose is when he reads complete poems. The meaning of allusions themselves is often not what Li Shangyin wants to express in his poems. For example, "Chang 'e", some people intuitively think it is a work praising Chang 'e, Ji Yun thinks it is a work mourning, some people think it is a description of a female Taoist priest, or even a poet's self-report, and there are different opinions.

It is also his style of using allusions that forms his unique poetic style. According to Huang Jian's note "Yang Wengong Yuan Tan" in Song Dynasty, every time Li Shangyin wrote a poem, he would consult a large number of books, and the room was littered with stalls, which was compared to "Rex sacrificing fish". Wang Shizhen of the Ming Dynasty also said in a joking tone: "Rex Festival was once held in Ao Yun, and it was a piece of brocade." Criticism [8] thinks that he sometimes uses too many allusions and makes obscure mistakes, which makes people unable to understand his poems. Mr. Lu Xun once said: "Yu Xi was born with clear pronunciation and beautiful sentences. How dare he compare with others? I am dissatisfied with too many allusions." (Letter to Yang Jiyun in February 1934)

In addition, Li Shangyin's poems are gorgeous and good at describing and expressing subtle feelings.

Untitled poem

Li Shangyin is famous for his untitled poems. According to statistics, the poems included in Li Shangyin's Collection of Poems [7] can basically confirm that there are 15 * * poems written by poets with untitled names:

Untitled (looking in the mirror at the age of eight)

Untitled (according to Liang)

Two Untitled Poems (Stars last night; Wendao Luomen)

Four Untitled Poems (empty talk; Southeast; Affectionate spring night; Where to mourn Zheng)

Untitled (after a brief encounter)

Untitled (immortal son)

"Untitled Two Songs" (Feng Luo; The curtain falls)

Untitled (near the famous Ahou)

Untitled (white roads)

Untitled (Wan Li Storm)

The other five poems (Five Laws, Lover's Forever, Seven Poems, Painting with Long Eyebrows, Princess Shouyang, Waiting for Lang Lai, Chanting in the Outdoor) which are often marked as untitled in current poetry collections are considered by Feng Hao, Ji Yun and others to be mostly untitled poems because they have lost their original titles.

Some researchers (such as Liu Yang [9]) think that some poems with questions in Li Shangyin's poetry collection should also belong to the category of untitled poems, on the grounds that the titles of these poems are often based on the first few words in the first sentence of the poem (such as Yesterday, The Sun shines, etc.). ), or the title of the poem has nothing to do with the content itself (for example, for you, a song, etc.). ). However, according to this standard, nearly 100 of Li Shangyin's poems can be classified as untitled poems. So this statement has not been supported by most people.

On the other hand, many people tend to compare poems such as Jinse, Bi Cheng San and Yushan with untitled poems, thinking that they are similar in style and artistic conception, and they all express a subtle and complicated feeling through obscure brushwork. In fact, it is this complicated situation that makes untitled poems attract many researchers, who try to explain the true meaning of these poems. However, no one's comments can explain the meaning of this poem very convincingly.

Feng Hao summarized the previous annotation work on untitled poems in Notes on Poems Born in Yuxi [10], from which we can see that there are great differences among different schools: "Those who solve untitled poems by themselves are either fables or endowed with all the abilities. Each has his own prejudices and his own decisions. I read the complete works carefully, and even many people actually have sustenance, and few people are erotic and confused. "

essay

Few people talk about Li Shangyin's writing achievements other than poetry. In fact, he was one of the most important parallel prose writers in the late Tang Dynasty. This style pays attention to the antithesis of words and uses a lot of allusions, which is widely used in official documents of the Tang Dynasty. Under the training of Ling Huchu, Li Shangyin became an expert in parallel prose, drafting memorials, letters and other documents for many officials. "Biography of Wen Yuan in Old Tang Dynasty" said that Li Shangyin was "particularly easy to handle funerals". At that time, the parallel prose used in the performance of the text required gorgeous words and accurate expression, so it had high requirements for allusion. Li Shangyin, who is good at writing parallel prose, has developed the habit of using allusions, so this is considered to be the reason why he likes to use allusions in poems [3].

Li Shangyin once compiled his parallel prose works into 20 volumes of Fan Nanjia Collection and 20 volumes of Fan Nanyi Collection, with a total of 832 articles. According to the records in the Book of the New Tang Dynasty and Records of the History and Arts of the Song Dynasty, Li Shangyin's collected works are not only two episodes, but also some others. However, none of these collections have been handed down. At present, there are Zhu, Xu Jiong, Qian Zhenlun, Qian Zhenchang, Zhang Caitian, Cen, Liu and Yu Shucheng who can see Li Shangyin's articles. It has been compiled and verified by books such as Quan, Wen Yuan and Tang. The newly compiled Notes on Li Shangyin's Chronicle (Liu Xueyan and Yu Shucheng, Zhonghua Book Company, 2002) contains 352 articles, most of which are parallel prose, and a few of them are called "ancient prose".

Fan Wenlan spoke highly of Li Shangyin's parallel prose in A Brief History of China, thinking that it would be a pity if all the parallel prose in the Tang Dynasty were lost as long as the Collected Works of Fan Nan was still there.

Annotation of ancient books

Because Li Shangyin's poems are obscure, some lovers of Li Shangyin's poems try to annotate these obscure poems. In Song Dynasty, Cai Tai mentioned Liu Ke's comments on Li Shangyin's poems in Xi Qing Shi Hua. Jue Yuan mentioned Li Shangyin's Selected Poems compiled by Zheng Qian in Yuan Dynasty in Rong Qing Jushi Collection. It is mentioned in Jintang Yanzhou Notes in Ming Dynasty that Zhang Wenliang annotated Li Shangyin's poems. But none of these notes or anthologies have been handed down. In fact, before the end of the Ming Dynasty, there were not many comments on Li Shangyin's poems. Yuan Haowen, a writer in the Jin and Yuan Dynasties, once lamented: "Poets always love Quincy, and wish that no one could write about Jian Zheng." At the end of the Ming Dynasty, monks in Taoist schools also commented on Li's poems. At the beginning of Qing Dynasty, Zhu completed three volumes of Notes on Li Yishan's Poems by deleting less and supplementing more on the basis of Notes on Daoyuan. This is the earliest complete annotation of Li Shangyin's poems that can be seen at present. Since then, through the annotation and textual research of Lv Kunzeng (Shi Pin Jie), Yao Peiqian (Shi Pin Zhu), Qu Fu (Shi Pin Zhu), Mengxing Cheng (revised version of Shi Pin Zhu) and Feng Hao (original version of Shi Pin Zhu), we have been able to roughly understand the allusions in Li Shangyin's poems, but the meanings of many poems are still inconclusive.

In the aspect of article arrangement, Li Shangyin once edited Fan Nanjia Collection and Fan Nanyi Collection, which no longer exist. In Qing Dynasty, Zhu compiled Wen Yuan and other books into the anthology, but there were obvious omissions. On this basis, Qinghe Xu Jiong supplemented and shared the work of writing and annotation, and published the first relatively complete Annotation of Li Yishan's Collected Works. Later, Feng Hao revised and adapted Annotations to Li Yishan's Collected Works, and wrote detailed annotations for Fan Nan's Collected Works. Qian Zhenlun and Qian Zhenchang found more than 200 lost articles in All Tang Wen that were not included in Xu Zhu Ben and Zhu Fengben, and compiled them into the supplement of Fan Nanwen Ji.

affect

Shi Zhecun believes that although the social significance of Li Shangyin's poems is not as good as that of Li Bai, Du Fu and Bai Juyi, Li Shangyin has the greatest influence on later generations, because there are more people who like Li Shangyin's poems than Li, Du Fu and Bai Juyi. Among the 300 Tang poems edited by Sun Zhu in Qing Dynasty, Li Shangyin has 22 poems, ranking fourth after Du Fu (38 poems), Wang Wei (29 poems) and Li Bai (27 poems). This anthology of Tang poems is a household name in China, from which we can see Li Shangyin's great influence on ordinary people.

In the late Tang Dynasty, Han Wo, Wu Rong, Tang and others began to consciously learn Li Shangyin's poetic style. In the Song Dynasty, more poets studied Li Shangyin. According to Ye Xie, "There were seven unique poets in the Song Dynasty, probably/kloc-0 studied Du Fu in 1967 and/kloc-0 studied Li Shangyin in 1934." (Original Poetry) In the early years of the Northern Song Dynasty, Yang Yi, Qian and other clansmen, Li Shangyin, often sang in harmony with each other, pursuing gorgeous rhetoric and neat antithesis, and published a collection of Kunxi Appreciation, which was called Titi. It was quite influential at that time. In addition, Wang Anshi also spoke highly of Li Shangyin, thinking that some of his poems were "unbearable for Lao Du" (Cai Kuanfu's poems). Wang Anshi's own poetic style is also obviously influenced by Li Shangyin.

Poets in the Ming Dynasty were all influenced by Li Shangyin from The First Seven Sons to Qian and Wu. People who like to write erotic poems in Qing Dynasty specialize in Li Shangyin's untitled poems, such as Wang Yanhong's Doubt Clouds and Rain. Romantic poetry in the novels of Yuanyang Butterfly School in the Republic of China was also influenced by him.

Regarding the influence of Li Shangyin on later generations, we can refer to the influence of Wu Diaogong in the Northern Song Dynasty on poetry, Li Shangyin's Beautiful Sunset in the Qing Dynasty, the influence on Su poetry, the influence on the formation of Li Shangyin's poetry, and the graceful and restrained poems of Liu Xueyan in the Tang and Song Dynasties.

One legend is that ...

Legends related to Li Shangyin are scattered in the historical records of later generations.

According to Sun Guangxian's "North Dream" in the Five Dynasties, Li Shangyin visited Linghu Mao on the Double Ninth Festival many years after Linghu Chu's death, but Linghu Mao was not at home. Prior to this, Li Shangyin had repeatedly complained to Hu Ling Mao, who was in a high position, hoping for support, but all of them were met with a cold shoulder. In addition to feeling, I wrote a poem in the hall of Hu Ling's thatched cottage: "When Shan Weng drinks, white chrysanthemums go around the frost steps." . I haven't heard from you since ten years of spring, and I thought about it nine days ago. Don't plant alfalfa like China officials, but teach Chu people to recite Gracilaria. Officer Lang is expensive, so there is no reason to take a look at the East Pavilion. "Euphemistically satirize the old friendship that Hu Mao never forgets. Hu Ling locked up and saw this poem, ashamed and disappointed, so he locked up the hall and never opened it again. Later, it was said that this poem made Hu Mao very angry and wanted to eradicate the poem wall. However, because his father's name ("Chu") appeared in this poem, according to the custom at that time, he could not destroy the poem and had to lock the door. Therefore, I am more jealous of Li Shangyin.

Song Yaokuan's Xixi Yu Cong recorded a story that spread in the late Tang Dynasty: a group of literati were boating in Dongting Lake, and someone proposed to write poems for Mulan. So everyone took turns writing poems while drinking. At this time, a poor scholar suddenly appeared, full of words: "The Dongting Lake is in a terrible cold, and the morning sun invades the clouds, and sails are levied every day to send people away. Looking up from Mulan's boat several times, I didn't know that Yuan was a flower. " Sing and disappear. Everyone was surprised, and later learned that this person was the ghost of Li Shangyin. In another version (Song Li-Qi's Poems of Ancient and Modern Times), there are no ghosts. A group of poets met in Chang 'an, and someone recited this poem, only to find out that he was Li Shangyin.

Cai Juhou in Song Dynasty said in Cai Kuanfu's Poems: Bai Juyi loved Li Shangyin's poems very much in his later years, and once joked: I hope I can be reincarnated as your son after my death. Later, Li Shangyin's son was born, and Li Shangyin nicknamed him "Bai Lao".

It is recorded in Qi's Ancient and Modern Poetics that Yang Yi and others sang in harmony in the Northern Song Dynasty and founded the "Kunxi Style", which is famous for learning Li Shangyin's poetic style. At that time, a professional actor played Li Shangyin, dressed in rags, and said to others: Yang Yi, they tore my clothes. Make everyone laugh. Some people use this story to satirize the inheritance of Li Shangyin by "Quincy School" poets.