Lady Zhen's personal name was not recorded in any surviving historical text.
All near-contemporary sources, such as Chen Shou's Sanguozhi and Xi Zuochi's Han Jin Chunqiu, refer to her as "Lady Zhen" (甄氏), "Madam Zhen" (甄夫人), "Empress Zhen" (甄后), or simply "(the) Empress" (后).

The attachment of the names "Fu" (宓; Fú) and "Luo" (洛; Luò) to Lady Zhen came about due to the legend of a romance between her and Cao Zhi, which Robert Joe Cutter, a specialist in research on Cao Zhi, concludes to be "a piece of anecdotal fiction inspired by the [Luo Shen Fu (洛神賦; Rhapsody on the Goddess of the Luo)] and taking advantage of the possibilities inherent in a triangle involving a beautiful lady, an emperor, and his romanticised brother."

A tradition dating back to at least as far as an undated, anonymous note edited into the Tang dynasty writer Li Shan's annotated Wen Xuan had Cao Zhi meeting the ghost of the recently deceased Empress Zhen, and writing a poem originally titled Gan Zhen Fu (感甄賦; Rhapsody on Being Moved by Lady Zhen).
Afterwards, Cao Rui found this poem about his uncle's love for his mother, and changed the title to Luo Shen Fu (洛神賦), which could be translated as Rhapsody on the Goddess of the Luo or Rhapsody on the Divine Luo, this second interpretation presumably referencing Lady Zhen's personal name, Luo.
If true, this would be a forename unique to early China, as the Chinese character '洛' has been a toponym since it entered the language.

The poem contains references to the spirit of the Luo River, named Consort Fu (宓妃), interpreted as a proxy for Empress Zhen by those who believed in Cao Zhi's infatuation with her.
This interpretation becomes less allusive if Empress Zhen's personal name was actually "Fu".
Lady Zhen's personal name was not recorded in any surviving historical text. All near-contemporary sources, such as Chen Shou's Sanguozhi and Xi Zuochi's Han Jin Chunqiu, refer to her as "Lady Zhen" (甄氏), "Madam Zhen" (甄夫人), "Empress Zhen" (甄后), or simply "(the) Empress" (后).
The attachment of the names "Fu" (宓; Fú) and "Luo" (洛; Luò) to Lady Zhen came about due to the legend of a romance between her and Cao Zhi, which Robert Joe Cutter, a specialist in research on Cao Zhi, concludes to be "a piece of anecdotal fiction inspired by the [Luo Shen Fu (洛神賦; Rhapsody on the Goddess of the Luo)] and taking advantage of the possibilities inherent in a triangle involving a beautiful lady, an emperor, and his romanticised brother."
A tradition dating back to at least as far as an undated, anonymous note edited into the Tang dynasty writer Li Shan's annotated Wen Xuan had Cao Zhi meeting the ghost of the recently deceased Empress Zhen, and writing a poem originally titled Gan Zhen Fu (感甄賦; Rhapsody on Being Moved by Lady Zhen). Afterwards, Cao Rui found this poem about his uncle's love for his mother, and changed the title to Luo Shen Fu (洛神賦), which could be translated as Rhapsody on the Goddess of the Luo or Rhapsody on the Divine Luo, this second interpretation presumably referencing Lady Zhen's personal name, Luo. If true, this would be a forename unique to early China, as the Chinese character '洛' has been a toponym since it entered the language.
The poem contains references to the spirit of the Luo River, named Consort Fu (宓妃), interpreted as a proxy for Empress Zhen by those who believed in Cao Zhi's infatuation with her. This interpretation becomes less allusive if Empress Zhen's personal name was actually "Fu".
Lady Zhen