Song of the Roosting Crows I by Liu Fangping

With moth-eyebrows and fine face, kingdom-toppling in grace,
Rings tinkling, pendants swaying, newly met face to face.
The Milky Way slants o'er the white jade hall,
The lotus-patterned screen dims the lamplight's fall.

Original Poem

「栖乌曲二首 · 其一」
蛾眉曼脸倾城国，鸣环动佩新相识。
银汉斜临白玉堂，芙蓉行障掩灯光。

刘方平

Interpretation

"Song of the Roosting Crows" is a set of Yuefu-style poems by the Tang Dynasty poet Liu Fangping, consisting of two pieces that belong to the tradition of palace laments and romantic lyrics. The first poem portrays a woman’s appearance, demeanor, and opulent surroundings, capturing the charm and emotions of a secluded palace dweller. Such poetry often follows the Han and Wei Yuefu legacy of "song lyrics," depicting feminine beauty and sorrow—delicately illustrating the figure while subtly conveying a sense of personal destiny. Although Liu Fangping achieved little success in his official career, he excelled in short verses on romantic and palace themes. His "Song of the Roosting Crows" continues this style: using lush language to express nuanced emotions, it blends rich color with deep feeling, fully showcasing his refined artistry within the late Tang poetic scene.

First Couplet: "蛾眉曼脸倾城国，鸣环动佩新相识。"
Éméi màn liǎn qīng chéng guó, míng huán dòng pèi xīn xiāngshí.
With brows like moth-antennae and a face so fair—she could topple cities and states;
Her ringing pendants and chiming ornaments seem to greet a new acquaintance.

This couplet uses “moth-eyebrows” (蛾眉 éméi) and “graceful face” (曼脸 màn liǎn) to depict her beauty, while “ringing pendants” (鸣环 míng huán) and “chiming ornaments” (动佩 dòng pèi) capture her elegant demeanor, vividly portraying the woman’s allure and charm. “Topple cities and states” (倾城国 qīng chéng guó) conveys an aura of breathtaking beauty, while “new acquaintance” (新相识 xīn xiāngshí) suggests the thrill of a first encounter, hinting at a romantic undertone. The description embraces both appearance and grace.

Second Couplet: "银汉斜临白玉堂，芙蓉行障掩灯光。"
Yínhàn xié lín báiyù táng, fúróng xíng zhàng yǎn dēngguāng.
The Silver River slants across the Hall of White Jade;
A hibiscus-patterned screen veils the lamplight.

This couplet shifts to the setting, using the environment to enhance the atmosphere. “Silver River” (银汉 yínhàn) refers to the Milky Way, indicating the nighttime setting; “Hall of White Jade” (白玉堂 báiyù táng) symbolizes luxury and nobility; “hibiscus-patterned screen” (芙蓉行障 fúróng xíng zhàng) is an elegant curtain that partially obscures the light, softening the interior glow and complementing the lady’s delicate beauty. Through this scene, the poet merges the woman’s image with her surroundings, adding a layer of subtle mystique.

Holistic Appreciation

With delicate and refined brushstrokes, this poem depicts the image of a beautiful woman. The first couplet portrays her appearance and demeanor in glamorous detail; the second evokes a luxurious, intimate setting. Figure and environment reflect and enhance each other, embodying both the conventional ideal of beauty found in Tang palace poetry and the subtle yearning of the literati imagination.

It is worth noting that phrases like “topple cities and states” and “Hall of White Jade” carry rich literary connotations, lifting the work beyond mere description into the realm of symbolism. The woman is not only an aesthetic object but also a symbol of power, luxury, and romantic idealization. Through this depiction, the poet displays the ornate style of late Tang poetry while quietly reflecting on wealth and desire.

Artistic Merits

• Fusion of figure and setting: The initial focus on the woman’s beauty is followed by description of her environment—figure and scene enhance one another, adding depth to the imagery.
• Elegant and ornate diction: Phrases such as “topple cities and states,” “Hall of White Jade,” and “hibiscus-patterned screen” carry a decorative beauty characteristic of the Tang pursuit of lavishness.
• Dynamic and static balance: The first couplet suggests movement through “ringing pendants” and “chiming ornaments”; the second conveys stillness with “veils the lamplight”—creating a harmonious contrast.
• Scene and emotion intertwined: The woman’s glamour and the luxurious environment combine to create an intimate atmosphere, depicting tangible beauty while hinting at the poet’s inner reflections.
• Layered symbolic meaning: While depicting a beauty, “topple cities and states” alludes to the power of allure, and “Hall of White Jade” suggests wealth and privilege—elevating the poem beyond surface description.

Insights

This poem reminds us that images of beauty in literary works often carry complex symbolic meanings—they are not only physical ideals but also representations of desire, power, and transience. Through the depiction of the woman and her environment, Liu Fangping allows readers to sense the illusion behind grandeur, evoking deeper reflection on life, love, and mortal affairs. Reading it today encourages us to appreciate beauty while contemplating the human truths it embodies.

About the Poet

Liu Fangping (刘方平 c. 742 – c. 785), a native of Luoyang in Henan. A recluse-poet and painter spanning the High to Mid-Tang period, he distinguished himself with a delicate and subtle poetic style skilled in depicting boudoir lament and moonlit nights. Though only 26 of his poems survive in the Complete Tang Poems, works like Moonlit Night and Spring Lament secured his place in the canonical hall of Tang poetry. Hailed as "the pure voice of the High Tang and the herald of the Mid-Tang," his poetry fused the lucidity of the Qi-Liang style with Zen serenity, profoundly influencing the later ci lyric tradition and Heian-era Japanese women's literature.