在我們以高唐神女神話傳說的三個重要版本分析其情節結構，闡述其結構點和功能意義後，再深入地思思考其媚于人的根源和為什麼要媚于人、自薦枕席? 就會發現瑤姬「未婚早夭」是項關鍵，自有其背後的文化心理結構。女「未字」、「未行」者就會面臨卒後無所憑依的難題。「高唐賦」中「未婚」神女的神話傳說，反映了中國文化中的「常與非常」的文化結構意義，帝女未婚而亡的冤與怨，是促使其藉著變化延續其非自然生命的動力，而自薦枕席的目的則是為了完成生前未竟的婚配心願，為之立廟雖基於人神的禱祈與謝報的契約關係；但更重要的是使早夭者有所憑依，以安頓其不安定的既冤又怨的靈魂，這也是使「高唐賦」在神話的隱喻與儀式象徵下，所反映中國人「女有所歸」的集體心理願望的深刻之題所在。

　　　　　When we analyze the structures of the mythological Goddess in "Kao-tung Fu" from three different editions, and try to explain the functional meanings of her power of charming and her willing to betroth herself, we find that the keypoint is Yaogi's death in unmarried status. A girl died in early age would be considered as unnatural. She would not be treated as traditonal religion ritual did. In the ancient China, especially in Han's people society where predmoinated the partiachy, a girl died in immature age unnaturally would mean a restless soul without any reliance in the secular world. The legend of mythological unmarried Goddess in "Kao-tung Fu" is a reflection of the structure meanings about "permanent and non-permanent" in chinese culture. Tinuh (帝女), looks for a metamorphose in yao (草) to continue her unnatural life and thus to relieve the complain and grievance that her short unmarried life had left. Her voluntary betroth to the King of Tzu-hwai, can be considered as an aspiration to realize a marital life. The reason thak King Tzu-hwai have enshrined Tinuh is the symbol to keep a pledge to pray and repay between the human and gods, furthermore this acceptance could console the soul of the early dead Princess and givher comfort reliance. The essential topic of "Kao-tung Fu" just reflects the collective psychology and the deep aspiration in chinese culture:Women have to be betrothed.