Daughter of the Moon Goddess

Daughter of the Moon Goddess references several common Chinese myths and legends, especially those related to the moon. While there are many versions of each tale, commonalities remain, and Tan puts her own spin on these legends as she works them into the Celestial world she has built.

Chang’e’s tale typically goes like this: Long ago, there were 10 suns in the sky, parching the earth. Houyi, a skilled archer, was called to shoot them down. He shot down nine of them and received an Elixir of Immortality. The amount of elixir varies: some versions say there was only enough for one person; others claim there was enough to share with his wife, Chang’e. From here, the story also diverges into multiple endings. In some versions, Chang’e was greedy and wanted the elixir for herself; in others, she drank the elixir to prevent a thief from stealing it while Houyi was away. Chang’e’s ascent to the moon is therefore either a punishment or an accident, but either way, she remains forever separated from Houyi. (There is a version that suggests Chang’e and Houyi reunite during the new moon, similar to the folktale of the Cowherd and the Weaving Maid). There is, however, no mythological record of Chang’e and Houyi ever having children—Xingyin is a product of Tan’s individual retelling. This puts a uniquely positive spin on Chang’e’s ascent to the moon, as her motivation is a safe childbirth (16), rather than a theft. This motivation also ties into the themes of family and love that are prevalent in the novel.

In addition to Chang’e, the moon has two other mythological residents: the Jade Rabbit and Wu Gang the woodcutter. The Jade Rabbit, once a regular white rabbit, sacrificed itself to feed three wandering sages, and was granted immortality on the moon. In some versions, the Jade Rabbit befriends Chang’e; in others, it is a completely separate, unrelated entity. Parallels can be drawn to Tan’s character Ping’er, especially regarding her devotion to Chang’e as her companion on the moon, though some versions of Chang’e’s myth do include a maid who travels to the moon to serve her.

The tale of Wu Gang has no clear connection with either the Rabbit or Chang’e but is a common myth related to the moon. Wu Gang, for various reasons depending on the version, must chop down a tree on the moon. However, it is a regenerating tree, so it grows back every time he tries to chop it down. Although Wu Gang is not featured in the novel himself, the tree is sometimes depicted as an osmanthus tree, and osmanthus flowers are often referenced in the novel through Xingyin’s memories of her childhood. Additionally, incorporation of this myth parallels the number of moon residents within these legends (Chang’e, The Jade Rabbit, and Wu Gang) and Tan’s novel (Chang’e, Ping’er, and Xingyin).

The legend of the four dragons referenced in the novel is similar to traditional versions (Andonov, Viktor. “The Four Dragons.” World of Tales, World of Tales, 2022). The dragons see the mortals suffering from drought, and beseech the Jade Emperor (ruler of Heaven, similar to the Celestial Emperor in the novel) to send rain. The emperor agrees, but does nothing; the mortals continue to suffer. The dragons take water from the ocean and turn it into rain. Enraged, the Jade Emperor has the dragons imprisoned under four mountains. The dragons then turn into four major rivers in China (The Mortal Realm, in the novel).

Unlike Western dragons, Chinese dragons are usually a symbol of good fortune, wisdom, and benevolence. They typically reside in the clouds, rivers, and oceans. Color also indicates the type of dragon—for example, red dragons symbolize good fortune, while white ones symbolize purity (The CLI Team. “Chinese Dragons: Their Types, History, and Significance.” CLI, CLI, 31 Mar. 2022). Black dragons are often linked with vengeance and catastrophe (CLI), which makes the black dragon in the novel an interesting choice for an ally. The black dragon is the one to tell Xingyin about her father’s death, right before Wenzhi abducts her (379), and it rescues Xingyin from the Demon Realm after Wenzhi’s brother’s thwarted murder attempt (423).

Finally, while the legend of Mulan is not explicitly mentioned in the novel, Shuxiao—and to some extent, Xingyin—both echo her story. The earliest version of the Ballad of Mulan is from the Northern Wei period (386-534 AD). Very little detail is given, just that she goes to war in her father’s stead, is victorious in battle, then returns home to her domestic life. Her comrades from the military don’t realize she’s a woman for 12 years, until she dons women’s clothes (Naudus, Philip. “The Ballad of Mulan (Mùlán cí).” Mulan Book, Mulan Book, 2020).

Later versions expand upon Mulan’s life, and the moral of the story changes depending on the adaptation. Shuxiao most closely exemplifies Mulan in that she becomes a career soldier to help her family, but her own desires remain both familial and domestic (270). Xingyin’s quest to save her mother follows a similar trajectory; however, joining the Celestial Army was not in her original plans, merely an unexpected means to an end.