 While Yang’s early scholarly reputation was based on his fu poems (a genre of polemic poetry generally aimed at influencing political policy during this time), his best known work today is his philosophical work, produced later in his life. The earlier of these texts, the Taixuanjing (“Classic of Supreme Mystery”) is a very much continuous with the correlative metaphysical trends of earlier Han philosophy. The text is an divinatory and philosophical manual in the style of the early divination classic Yijing, and develops a similar correlative metaphysics to ones found in earlier texts such as Chunqiu Fanlu and Huainanzi. Fayan, perhaps his most famous work, was one of his later works, written during period of Wang Mang’s Xin Dynasty. While this work is innovative in its return to an older style of presentation as well as its presentation of new theories of xing 性 (human nature/inborn characteristics), moral cultivation, and political organization, it’s legacy led to the sidelining of Yang Xiong in the later Chinese tradition. Song Dynasty Neo-Confucians such as Zhu Xi (1130–1200 CE) criticized Yang on the basis of what they saw as the presumptuousness of his use of the style of the Analects for the construction of Fayan. Because of this, Yang’s work was not included as one of the essential Confucian texts by these later scholars, and this led to the neglect of Yang’s work from this time, given the influence of the Neo-Confucians (Nylan 2014: 2).