Abstract
Early medieval Chinese literature depicts two modes of goddesses, derived from the two masterpieces attributed to Song Yu, “Rhapsody on the Goddess” and “Rhapsody on Gaotang.” Since Cao Zhi’s “Rhapsody on the Goddess” overshadowed other works among rhapsodies and poems, it appeared as if the influence of “Rhapsody on Gaotang” had stopped. This study reveals the two lineages of goddess depictions in medieval Chinese literature, showing that the “Goddess of Love” has never disappeared.
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